Stacey Offman, Jigsaw Production’s exec VP of development and production, is exiting the company to work as an independent producer, Variety has confirmed. Longtime Jigsaw producer Erin Edeiken to serve as head of production for Alex Gibney’s shingle going forward.
Offman, who is exiting on May 19, joined Jigsaw Productions in 2012. In her 11-year tenure at the documentary production company, Offman was part of the team that launched Jigsaw’s television branch as well as the creation of a vertical of non-fiction series and documentaries for an array of studios and broadcast partners.
Offman’s recent projects include Jigsaw’s “Dirty Money,” a six-part investigative series which exposed corruption and financial malfeasance in some of the most influential companies and industries. The series began streaming on Netflix in January 2018. In addition, Offman developed “Salt, Fat, Acid Heat,” a 2018 four-part Netflix culinary travel series based on Samin Nosrat’s book by the same name, which won a James Beard Media Award. Offman also spearheaded notable political projects including Showtime’s Emmy winning “Kingdom of Silence” (2019) and Apple TV’s Emmy nominated series “The Line” (2021).
At Jigsaw, Offman also served as an executive producer on Matthew Heineman “City of Ghosts” (2017), Marina Zenovich’s “Robin Williams: Come Inside My Mind” (2018), and Alexis Bloom’s “Divide and Conquer: The Story of Roger Ailes” (2018).
“A foundational figure for Jigsaw, Stacey is an extraordinary executive and producer, with a gift for listening to what’s going on and looking ahead,” says Gibney, who won an Oscar in 2008 for “Taxi to the Dark Side.” “I wish her the best going forward and hope that we will continue to work together in the future.”
Prior to joining Jigsaw, Offman was “Super Size Me” director Morgan Spurlock’s producing partner. Previously, she served as supervising producer for Emmy-nominated Borderline TV and Head of Production & Development at Paperny Entertainment.
Offman will continue to work on various active Jigsaw projects as an executive producer and plans to continue a relationship with the production company.
Currently Offman is leading a team on Jigsaw’s “Sue Bird,” a documentary about the WNBA star and five-time Olympic gold medalist for Nike’s Waffle Iron Studios. She is also working on a natural history series with Amazon Studios and actress-screenwriter Phoebe Waller-Bridge.
“I depart Jigsaw with immense pride and take pleasure in all that I achieved in the past 11 years with Alex and the Jigsaw family,” says Offman. “I collaborated with extraordinary talent and emerging filmmakers in crafting stories that resonate loudly. I am thrilled for what lies ahead and look forward to the next chapter.“
In February Jigsaw hired Emmy nominee Razan Ghalayini as vice president of non-fiction development. Ghalayini is responsible for managing Jigsaw’s non-fiction slate of projects and sales efforts alongside scripted and audio divisions.
Jigsaw, backed by Ron Howard and Brian Grazer’s Imagine Entertainment, is currently in production on several projects including Gibney’s HBO docu “Musk,” about Elon Musk, and “SF Sounds,” an MGM+ series that tracks the history of the San Francisco music scene from 1965 to 1975. Jigsaw’s most recent two-part feature documentary, Gibney’s “Boom! Boom! The World vs. Boris Becker” premiered earlier this year at the Berlin Intl. Film Festival and was released on Apple TV+ in March.
Starting in December, Google will begin deleting accounts that have not been used in at least two years as part of an effort to address security risks, the company said on Tuesday.
The expunging of old accounts does not only mean losing access to Gmail. Work in Google Docs, Google Workspace, Google Photos and other Google products will also be wiped out, as will any videos that an affected user has uploaded to YouTube.
Ruth Kricheli, the company’s vice president of product management, said in a statement announcing the new policy that the move was intended to protect users from security threats because accounts that had not been used for a while were more likely to be compromised.
An internal analysis at Google found that abandoned accounts were much less likely than active accounts to have two-factor verification, an authentication method that helps to confirm a user’s identity, the company said.
“These accounts are often vulnerable,” Ms. Kricheli said, “and once an account is compromised, it can be used for anything from identity theft to a vector for unwanted or even malicious content, like spam.”
The policy went into effect on Tuesday, but the company said it would not begin deleting unused accounts until December at the earliest. Google said it would start by purging accounts that were set up but never used.
Before an account is deleted, Google said it would deliver several notifications to users through Gmail and any backup email addresses that had been provided.
Ms. Kricheli said the plan to expunge inactive Google accounts only applied to personal accounts and would not affect organizations like schools or businesses that use Gmail and other Google services.
Google users who have not used their account in at least two years and do not want their account to be deleted can keep it active by simply signing into Gmail or any other Google service, such as Google Drive, YouTube or Google Search, or by downloading any app from the Google Play Store.
The company said that anyone with an existing subscription that had been set up with a Google account, such as one linked to a news outlet, would be considered an active user and their account would not be deleted.
Whether it’s Ed Wood, Captain Jack Sparrow or Willy Wonka, there’s always a lot of pizzazz and absurdity that lifts Johnny Depp’s on-screen personas off the screen.
However, in Maïwenn’s Cannes opening night film, Jeanne du Barry, the actor takes a definite less is more approach to his King Louis XV who is madly bewitched by his court mistress, Countess Jeanne du Barry, in the 18th century; that part played by the pic’s director.
It’s one of Depp’s more visually-driven performances sans any bouncy dialogue or offbeat behavior.
“We talked about this idea of…you can write a wonderful scene. The words can be absolutely gorgeous on paper, they may sound great in the air,” explained the 3x Oscar nominee.
“(But) what’s going on underneath the words are more important than the words themselves,” Depp continued.
“It’s a nicer thing to generate through yourself to each other, to deliver an honest moment to the audience,” the actor said explaining his process, “Words are my god — it’s the subtext and it’s the choices which interest me and why people do what they do.”
“The movie doesn’t talk so much, the movie has 50 minutes of music,” asserted Maïwenn.
Jeanne du Barry delves into the controversies of class, status and reputation, topics which rang far too true for both Depp coming away from tabloid-laden lawsuits with former spouse Amber Heard (over which the actor publicly said he was boycotted by Hollywood), and Maïwenn who recently admitted in a TV interview to assaulting a reporter in a restaurant. In fact today, Depp, when asked by Deadline whether he still feels boycotted by the industry, retorted: “Do I feel a boycott now? No, not at all. I don’t feel boycotted by Hollywood because I don’t think about Hollywood. I don’t have much further need for Hollywood myself.”
Maïwenn says there’s nothing allegorical going on in Jeanne Du Barry, mirroring their lives: “It’s more of a love story than a social class conflict” says the filmmaker.
Jeanne du Barry generated a lot of noise heading into the 76th edition of Cannes including, but not limited to, its Saudi financing, the media making hay over Depp’s alleged ‘wifebeater’ reputation, and Maïwenn being off the cuff. We asked Depp to comment on the current WGA Strike and writers’ plights in a streaming vs. theatrical world. The SAG-AFTRA contract expires at the end of June. As you can see in our interview above, after the pic’s tormented walk-up to Cannes, Maïwenn wanted no business chatting about anything else than her movie.
Any tour is a massive undertaking that requires an unbelievable amount of planning and logistics. That goes for a band in a van pulling double (or triple, or quadruple) duty as performers, drivers, merch salespeople, and backline technicians, or the biggest pop stars on the planet, who need hundreds of people to make their treks possible.
Despite that reality, it’s rare to see a major artist share the full production and services credits for their tours, so that everyone involved gets a chance to shine. It does happen every now and then: Madonna gave a big shout out to her personnel for her Madame X tour; SZA let the credits roll on the big screen at the end of her SOS shows; and now Beyoncé has shared the credits for her Renaissancetour, which just launched in Europe.
The Renaissance credits offer a glimpse at the insane scale of such tours, which aren’t possible without everyone from back-up dancers and musicians, to wardrobe and glam teams, to lighting crews, audio technicians, carpenters, builders, caterers, and security. Beyoncé even has a full-on “Automation” team, which is probably the crew responsible for making sure those crazy robot arms function properly every night.
(Seeing the full credits also helps partially explain why concert tickets are so expensive these days — not counting the arguably questionable feesimplemented by those selling the tickets.)
The European leg of the Renaissance tour will continue through May and June. Beyoncé will kick off her North American trek July 8 in Toronto, with shows scheduled through Sept. 27 in New Orleans.
Arpita Khan and Jungkook ruled headlines on Wednesday. (Photos: Instagram)
From robbery at Salman Khan’s sister Arpita Khan’s Mumbai apartment to alleged threats to Jungkook; here are the top headlines of the day.
Salman Khan’s sister Arpita Khan’s diamond earrings got stolen recently from her Mumbai apartment. As reported by E-Times, Arpita filed a complaint regarding the same with the Mumbai police following which her house help was arrested. In her complaint, Arpita stated that her diamond earrings were worth Rs 5 lakh. While the house help is now in police custody, the stolen earrings have also been recovered by the cops from his residence.
BTS member Jungkook allegedly received death threats recently after he reportedly refused to consume food sent by one of his fans. The K-pop singer had earlier also urged his fans not to send him food. Reportedly, this left one of his fans upset who then hinted to harm him. The alleged threat has left ARMYs across the world furious and disappointed. Fans are now urging Bighit Music to take strict action against social media accounts threatening Jungkook. A number of fans are also requesting the agency to provide security to Jungkook.
The Delhi High Court on Wednesday asked Twitter to disclose basic subscriber information, including e-mails, IP addresses and phone numbers, of some of its users who are allegedly sharing clips of Shah Rukh Khan’s upcoming film Jawan. The court had earlier directed YouTube, Twitter and Reddit to immediately block and take down the unauthorised broadcast of the film’s content and clips following a lawsuit by the film’s producer Red Chillies Entertainments Pvt Ltd. The movie is scheduled to be released in theatres on September 7.
Sudipto Sen’s directorial The Kerala Story featuring Adah Sharma in the lead opened with various opinions and reviews but is refusing to slow down at the box office. The film is now emerging to be one of the highest-grossing films of the year. The film has already crossed Rs 150 crore on its Day 12 in India and is still putting numbers at the box office. With strong momentum, the film is expected to enter the Rs 200 crore club soon. The total collection of the film as of now is said to be Rs 156.8 crore.
Mumbai traffic police has issued e-challans to the bike owners who gave lifts to Bollywood actor Amitabh Bachchan and Anushka Sharma. This challan was issued under Sections 129/194(D), Sec 5/180 & Sec 3(1)181 MV Act. In the case of Anushka Sharma’s rider, he did not have a valid license as his learning license had expired in 2020. This is why he was fined Rs 5000 and the owner of the bike was also fined Rs 5000. Apart from this, they he also fined Rs 500 for helmet-less riding. Both the owners have paid their fines.
Chirag Sehgal, Sub Editor at News18, covers Bollywood, television and K-pop group BTS. Apart from digging deep into the world of television and Bollyw…Read More
Brooklyn, N.Y., prosecutors have accused prominent Brooklyn rappers Sheff G and Sleepy Hallow of a conspiracy to allegedly kill members of a rival gang.
Sheff G, whose real name is Michael Williams, was arrested and charged with two counts of conspiracy to commit murder on Tuesday, according to court records. Sleepy Hallow, whose name is Tegan Chambers, was also charged with conspiracy charges.
The pair of performers are among 32 individuals who were charged in the case, which spans a dozen shootings with 13 victims, including one person who died and three bystanders who were injured. The crimes occurred from March 2019 to present day, according to the 140-count indictment filed by the Brooklyn district attorney’s office, which held a high-profile press conference featuring New York Mayor Eric Adams and top law enforcement officials.
Williams’ attorney Mitchell Elman responded to The Times’ questions, but was not immediately available to comment
Under their performing names, Williams and Chambers were frequent collaborators and are considered pioneers of the growing Brooklyn drill rap scene, which exploded in popularity over the past half-decade. The late rapper Pop Smoke, who was killed in February 2020 in Los Angeles, was one of the scene’s most visible artists. Williams rose to fame in 2017 with a viral single, “No Suburban.” He and Chambers command social media followings of hundreds of thousands, with their music garnering hundreds of millions of streams on Spotify and YouTube.
However, during his ascent, prosecutors allege Williams had been funding a Flatbush-based gang, 8 Trey Crips, and its affiliated 9 Ways gang, according to the indictment and a district attorney’s news release.
Prosecutors alleged in court documents that Williams had treated members of the gang to a Manhattan steakhouse to celebrate a drive-by shooting in October 2020 in which one alleged rival gang member was killed and five other alleged gang members were injured.
After buying a mansion in Short Hills, N.J., prosecutors alleged Williams, who had recently signed a partnership deal with RCA Records, had used his music earnings to fund further alleged gang shootings, “offering money and giving expensive jewelry to those who commit acts of violence.” Prosecutors also said he had allegedly helped coordinate one of the shootings in April 2021 in which two innocent bystanders were hit by gunfire, and acted as a getaway driver.
When prosecutors filed the recent conspiracy charges, Williams was still serving time for a 2021 gun charge at a Rikers Island jail, according to New York Department of Corrections records. In January 2021, police had pulled Williams over for speeding and an illegal U-turn and found a gun in his car, according to the New York Daily News. He pleaded guilty to the gun charge later that year and was sentenced to two years in prison.
Prison records showed his earliest projected release was set for June 15.
While Williams was locked up, fans eagerly anticipated his release. In a video posted to Williams’ Instagram account earlier this week, Williams had phoned in from prison during a Sleepy Hallow concert where Chambers held his phone to a large crowd that chanted, “Free Sheff!” With the cell against the microphone, Williams responded, “I love y’all! I’m coming home soon!”
Williams is incarcerated at a facility in Queens, N.Y., according to jail records, where he awaits his next court date on Aug. 9.
In interviews, Williams had shared his experiences growing up around street violence, which left him and others in his neighborhood “scared and paranoid” and with “PTSD,” he told Passion of the Weiss in a 2019 interview. The rapper had also been candid about his affiliation with Brooklyn gangs, but rejected the negative connotations, such as violence and criminal activity.
“It’s more like a brotherhood,” Williams said. “If you living on a block and you coming outside, this is people that you with every day … This is our neighbors, you feel me? You know each other’s moms. You eating together. Holidays celebrating. These are your brothers now. Now, y’all like family. Y’all built this relationship. Everybody loves each other. It’s not just a ‘gang’ with everybody wildin’ recklessly. It’s more than that.”
Guardians of the Galaxy Vol. 3 has been out in theaters for almost 2 weeks, and shopDisney is celebrating! Star-Lord fans will love this Premium Electronic Role Play Helmet coming soon to shopDisney!
Star-Lord Premium Electronic Roleplay Helmet
This collectible is part of the Marvel Legends Series. The Marvel Legends Series blends the Marvel Comic Universe with the Marvel Cinematic Universe characters, offering premium items for fans.
Photo: shopDisney
Peter Quill wouldn’t be Star-Lord without his iconic helmet! Complete with thermal vision, HUD, and oxygen purification, it’s an essential component of his Super Hero ensemble.
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Photo: shopDisney
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Currently, Disney’s online shopping platform is selling some incredible merchandise in honor of Star Wars Month. You can also find some epic Guardians of the Galaxy Vol. 3 merchandise.
Photo: shopDisney
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The Lord of the Rings: The Rings of Power composer Bear McCreary sits down with Nerdist’s Rotem Rusak to talk about his creative process in composing the series epic soundtrack.
More Rings of Power News: https://nerdist.com/topic/tolkien/
Watch more Nerdist News: http://bit.ly/1qvVVhV
CD Projekt Red “hereby announces the conclusion of work on defining a new framework for Project Sirius,” it said. Being developed by CD Projekt Red-owned studio The Molasses Flood, Sirius is promised to be a multiplayer Witcher game built to appeal to audiences outside of just RPG fans.
CD Projekt Red told IGN at the time that it had filed the impairment change as “our current focus is ensuring that Project Sirius is aligned with the strategy of the CD PROJEKT Group”.
When audiences consider 3D as a medium, the abiding image seems to be of items popping out from the screen — a limb here in “Jaws 3D,” a dildo there in “Jackass 3D” — and perhaps that is indeed how most filmmakers have used the medium. Not enough directors have capitalized on the ability of 3D to convey a sense of physical depth; fewer still have seized on the possibility of adding philosophical depth. Thank goodness, then, for Wim Wenders. The first of two new films by the German veteran in this year’s Cannes official selection, “Anselm” is a tour de force 3D 6K portrait of the artist Anselm Kiefer, both rich in ideas and breathtaking in technical execution.
Though undoubtedly a powerful confrontation with some of the biggest themes art can tackle — mortality, permanence, being, nothingness, all the hits — “Anselm” remains an accessible experience, partly because of its manageable 93-minute runtime and partly because of its endlessly engaging imagery. There’s no reason any reasonably curious audience shouldn’t be able to switch on to its considerable pleasures.
Wenders’ palette of documentary subjects — ranging from the Buena Vista Social Club to Pina Bausch to Pope Francis — has always suggested a lively and curious mind, but that curiosity has never been more essential than it is here. More a portrait of Kiefer’s work than a standard biographical study of Kiefer himself, “Anselm” is a very particular study of a singular man’s soul, told through images of his oeuvre, augmented by sensational use of archive rendered in 3D. There are no tedious talking-head interviews with art-world luminaries or former teachers claiming to have foreseen his genius, and this is a blessed absence.
Structurally, the film’s organizing principle is a series of explorations of Kiefer’s artistic preoccupations during periods spent in different studios, but this isn’t rigidly imposed. With a lyrical lightness of touch, seasonal change also marks the passage of time, conjuring a temporal sense more cyclical than linear. Time here is the fourth dimension: While the 3D visuals grab your attention immediately, “Anselm” is a film deeply concerned with chronology and memory. It is deeply moving to re-encounter sunflowers seen early in the film in a frozen winter field, this time bathed in golden light as a younger version of Kiefer (played by Anton Wenders) tentatively makes his way through them.
There is even something of “2001: A Space Odyssey” to scenes where Kiefer’s younger and older incarnations explore ornate but empty rooms in the final act. The effect is intimate, like we’re trespassing in someone else’s core memories. This isn’t a portrait of the artist as a young, middle-aged or old man: It’s every past self overlapping, sometimes literally, as Wenders brilliantly overlays images to function as both eye and mind’s eye, simultaneously suggesting what is both seen and thought.
The crisp 3D 6K footage through which this is all realised isn’t merely decorative or showy, but so sharp and photoreal as to make the viewer swear they can feel warm sunshine on their skin, or inhale the fresh scent of furniture polish; you positively itch to run a curious finger along the gilded edge of an ornate picture frame. None of which is to suggest the film is focussed on aesthetics at the expense of social context, as Wenders isn’t afraid to explore difficult subjects in his compatriot’s back catalogue — in particular, his sometimes controversial reckonings with the Holocaust.
Kiefer’s stance on this ties into his wider work: There’s the heavy sense of humanity as interconnected and therefore collectively culpable. He is determined to resist the individualist approach through which people convince themselves that they, surely, would have been a heroic part of the resistance. The impression of humankind that emerges here from Kiefer’s work is one of an Icarus figure who has gotten away with flying close to the sun so far, and is determined to see how much closer they can get. Kiefer’s mind is presented as supremely supple, able to confront and contain dangerous ideas without cracking.
It’s easy for films about the importance of creativity to present it as a purely generative act, but Wenders carves out space to show how destruction can also be part of the artist’s practice. We see Kiefer using flamethrowers to torch and distress his materials, and experience the brutal beauty of molten metal destroying the surfaces Kiefer ladles it onto. Plenty of terrible crimes against cinema have been committed in the name of “immersive” art, but this focus on material helps “Anselm” to feel immersive in the best sense: The stereoscopy and sharp focus push our noses into the physical texture of the work, while also pulling us forwards and backwards through time. It’s all rather overwhelming, and appealingly tactile, with the rendering of archival footage into 3D a particular coup. Only by the end of the film do we gain a full sense of the echoes and leitmotifs threaded throughout; it would handsomely repay repeat viewings.
Jeanne Du Barry is a 2023 out of competition 18th-century French drama that is produced by Maïwenn. Jeanne Du Barry is based on historical events and focuses on the story of Madame du Barry who was the last chief royal mistress of the King of France, Louis XV. The film follows the ups and downs of her integration within the royal family. Despite the slow start, the humorous moments and the aesthetic of Versailles clearly captivated the audience’s attention.
While the lead performance captures the complexity of Jeanne du Barry’s character, the film suffers from pacing issues and a disjointed narrative structure. It meanders through subplots, hindering the audience’s full engagement with the central story. Additionally, the screenplay fails to delve deep into the character’s motivations and conflicts, leaving some aspects feeling underdeveloped.
Despite its flaws, Jeanne du Barry offers glimpses into the captivating world of 18th-century French royalty. Maïwenn’s directorial vision and the film’s stunning aesthetics make it a worthwhile watch for fans of period dramas, although it falls short of reaching its full potential.
Katie Couric is weighing in on former NBCUniversal CEO Jeff Shell’s surprise firing last month over an accusation of workplace misconduct. “It just amazes me that a powerful executive like that would be so dumb, just be so stupid and reckless,” Couric says on Kelly Ripa’s Let’s Talk Off Camera podcast. “I think reckless is […]
Since Courage the Cowardly Dogpremiered in 1999, the show has filled our daydreams and nightmares with terrifying imagery and existential dread. Set in the middle of Nowhere, Kansas, Courage follows the titular little purple dog as he tries to protect his owners, Muriel and Eustace Bagge, from the dangerous (and sometimes misunderstood) forces that find their way to their isolated farmhouse. The show’s unique, mixed-media art style and references to classic horror made Courage stick in the trauma centers of our brains.
For many, Courage was an introduction to the aesthetic and conceptual possibilities of the horror genre; this dog was our guide to newfound horrors, letting us know that it’s okay, even normal, to be scared. And while most of us have likely found new frights to fill our nightmares, the kernels of those chilling visuals, eerie sounds, and unnerving concepts from Courage still live in the recesses of our minds. Every episode was scary in some way, but these are some of the scariest.
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“The Clutching Foot” sees Courage dealing with the subgenre of body horror. Eustace gets a foot fungus that rapidly expands, enveloping the farmer’s entire body and transforming into a giant, hideous purple foot. And this fungus foot isn’t just alive, it’s sentient: a walking, talking gang of five led by the one and only Big Toe. Big Toe and the gang threaten to squish Muriel, forcing Courage to commit crime in their stead.
Seeing Eustace’s body completely overwhelmed by the fungus feels like something straight out of Cronenberg. The episode quite possibly introduced kids everywhere to the fundamental concept of body horror; namely, the complete loss of bodily self to something else. Eustace’s fungus may not have been the abject nightmare of, say, The Fly, but it certainly felt like it at the time.
19 The Quilt Club
Cartoon Network
“The Quilt Club” is one of the aesthetically darker episodes of Courage, featuring dingy, monotone background elements and a haunting organ theme. Muriel and Courage meet Elisa and Eliza Stitch, the conjoined twins who run the local craft shop. Muriel grows obsessed over making samples that will earn her spot in the twins’ exclusive quilt club, forgoing her household duties and even forgetting Eustace and Courage.
The Stitch Sisters finally accept Muriel, which Courage discovers is a trap: the “club” is the sisters’ quilt itself, a vessel that traps the souls of its members inside to feed Elisa and Eliza’s everlasting lives. Courage destroys the quilt by reminding Muriel of her family, which in turn transforms the Stitch Sisters into a piece of fabric. The concept of Muriel being trapped in the quilt is terrifying enough for a kid, but the fact that she chose to put herself in the situation specifically to “fit in” is the more existential scare here.
18 Feast of the Bullfrogs
Cartoon Network
In “Feast of the Bullfrogs” a group of giant bullfrogs, led by King Bufo invade the Bagge household to make it their new pond. Under the threat of violence, the frogs get their way. Eventually, they even force Muriel and Eustace to behave like frogs living in their pond. This isn’t the end of it, as Bufo wants to eat his new wards in a celebratory feast.
Of course, Courage manages to save his owners through a mixture of wit and cartoon shenanigans. What’s especially scary about this episode is the way in which Bufo and crew strong-arm the Bagges into being frogs, even to the point where they can only “speak” in croaks.
17 Night of the Weremole
Cartoon Network
As the title suggests, “Night of the Weremole” is a play on classic werewolf stories. While tending her garden, Muriel is bitten by the eponymous weremole and eventually turns into a ferocious beast herself. Dr. Vindaloo is of no help, instead getting attacked by Muriel and later transforming himself. The plot of this episode is exceedingly simple, but Muriel’s appearance as the monster is undeniably freaky. This is one of the many Courage episodes that end on a cliffhanger featuring Eustace in peril, under attack by the transformed Vindaloo.
16 Evil Weevil
Cartoon Network
We all like to think that we’d help someone in need, but “Evil Weevil” makes viewers wary of that practice. In the episode, Eustace accidentally hits a humanoid fly with his truck. Muriel insists on bringing the bug to their home and treating him to dessert as an apology for the accident. But what starts as a simple conversation — albeit, with a bug-man — over dessert quickly turns sinister when Courage notices the bug sucking Eustace and Muriel literally dry. That concept is itself nightmarish, but what’s worse is that Muriel and her family are cosmically punished for doing a good thing. It’s enough to make any kid think twice about helping out a stranger.
15 The Shadow of Courage
Cartoon Network
One of the earliest episodes of the series, “The Shadow of Courage” exemplifies a staple of the series and its villains. When an old scientist suddenly dies, his shadow is free to wander Nowhere and scare the locals before he himself is scared into fleeing to the Bagge farmhouse. The shadow torments the family throughout the night, even making Eustace flee to the safety of his pickup truck. Without any other options, Courage has a conversation with the shadow, who tells him that his real dream is to become the shadow of a star. He instead becomes the shadow of the stars in the sky on Courage’s recommendation.
The shadow’s impersonations are scary, even sometimes violent. To scare Courage, the shadow depicts Muriel getting decapitated, cut in half with a circular saw, burned on a pyre, and more. Even so, the shadow isn’t without redemption. Like many of the show’s villains, the shadow is only villainous because he’s misunderstood.
14 Windmill Vandals
Cartoon Network
“Windmill Vandals” of one of the few episodes of Courage where the threat is acknowledged and resolved by all three members of the Bagge family. The episode tells the story of the legendary Windmill Vandals that plagued the town of Nowhere 250 years prior and of their defeat at the hands of the farmer who built the Bagge home, Jiles Galette.
Using magical runes on his windmill, Galette kept the Vandals at bay so long as the mill kept spinning. When it stops in the present day, the Vandals return as skeleton warriors, complete with skeletal horses and realistic weaponry like swords and axes. Unlike many of the more stylized villains in Courage, the Vandals have a more realistic appearance that makes them feel like a different kind of threat.
13 Everyone Wants to Direct
Cartoon Network
When famed director Benton Tarantella comes knocking on the farmhouse door, Muriel and Eustace can’t help but be starstruck by the possibility of fame and fortune. So much so, that they don’t notice that the director is clearly a zombie. The two are eager to help Tarantella in every way, but Courage quickly discovers that Tarantella and his former partner, Errol Von Volkheim, were serial killers who disguised themselves as directors to lure in their victims. Tarantella died in prison, but Von Volkheim was released and, when he died, was buried directly beneath the farmhouse.
The zombie designs are creepy, but what’s really jarring about this episode is hearing about, in a children’s show, serial killers who murdered 12 people. Courage wasn’t the only show at the time to explore horror in children’s media, but it may be one of the only to have a verified body count.
12 Car Broke, Phone Yes
Cartoon Network
The setup to “Car Broke, Phone Yes” is classic sci-fi horror. After Courage sees an asteroid land near the farmhouse, a mysterious stranger comes knocking at the door. He’s a small man in a large trench coat and hat, nothing but his bulging eyes showing beneath the getup. When he speaks, the man only says, “Car broke, phone yes?”, but he doesn’t even know how to use the phone.
Courage discovers the man is an alien — just a brain, two eyes, and two tentacles — probing for kindness and indeed stealing all of Muriel’s away. Distraught at the idea of living with two unkind owners, Courage must defeat the alien to return Muriel to her usual self. This is another episode that makes you think twice about showing kindness to strangers. Once again, Muriel is punished for doing the “right” thing, while Eustace is temporarily rewarded for his cruelty.
11 Queen of the Black Puddle
Cartoon Network
The episode “Queen of the Black Puddle” is probably the most selfless we see Courage act in the series, and that says a lot. In it, Eustace is seduced by the eponymous Queen, a siren-like creature who dwells within water’s reflection. The Queen easily takes Eustace into her realm, where she plans to eat him. Muriel is devastated at the loss of her husband, and Courage, out of his love for her, rescues Eustace.
The Queen is beautiful in a Morticia Addams sort of way until she transforms into a hideous fish monster intent on devouring the farmer. And it’s very clear that that’s what she’s doing, considering the skeletons littering her lair’s floor. Courage didn’t have to go through all this, but, as the catchphrase goes, “The things I do for love.”
10 The Great Fusilli
Cartoon Network
“The Great Fusilli” taps into the very real fear of losing complete control of yourself to another. Similar to “Everyone Wants to Direct,” this episode has Muriel and Eustace taken in by a conman with the promise of fame and fortune. This time, it’s an alligator by the name of the Great Fusilli who offers the Bagges parts in his traveling stage show. This is no ordinary stage show, however; it’s a marionette show, and Fusilli wants to add the Bagges to his puppet collection. Courage manages to escape the alligator’s clutches, but Muriel and Eustace are transformed into lifeless marionettes. Even after Fusilli is defeated, Muriel and Eustace are puppets; the episode ends with Courage trying to reenact daily life with his newly hollow owners.
As this episode was planned as the series finale, some fans theorize that everything that takes place in the following three seasons of Courage is made up, the delusions of a dog puppeteering his former owners. Or maybe the computer just helped Courage find a cure.
9 The Mask
Cartoon Network
“The Mask” is one of the creepiest episodes of the series, but it is also one of the thematically darkest and, strangely enough, sweetest. A stranger appears at the farmhouse, as they so often do. This time, it’s a woman in a weird porcelain mask who can’t stop trying to kill Courage out of a hatred for dogs. The woman reveals herself to be Kitty, and that she is drifting after losing her best friend, Bunny, to the abusive gangster Mad Dog. Courage manages to defeat Mad Dog and reunite Kitty and Bunny, with the former conceding that “not all dogs are bad.”
This episode has been lauded by fans not just for the creepiness of Kitty’s mask in the first half, but for its honest depiction of domestic violence. Kitty and Bunny’s relationship is also often interpreted as a romantic one, a theory Dilworth himself confirmed via Twitter.
8 Heads of Beef
Cartoon Network
There’s nothing like a little cannibalism to traumatize kids into fearing their local burger joint. “Heads of Beef” sees Eustace and Courage trying to find a cheap meal since Muriel is too sick to cook. When they happen upon a diner offering “Burgers, Really Cheap,” it seems too good to be true — maybe, it is. Courage grows suspicious when he finds a face in his burger, and soon thinks he sees the owner’s wife eating another customer’s head.
But, unlike most other episodes of Courage, this one all turns out to be a misunderstanding. Courage’s paranoia, and the viewer’s own, misread the situation by making assumptions about the things they’re seeing. Still, the creepy imagery and implications of cannibalism certainly left some kids with a distaste for hamburgers.
7 Courage in the Big Stinkin’ City
Cartoon Network
“Courage in the Big Stinkin’ City” is not one of the scariest episodes overall of the series, but that may be precisely what makes its most infamous scene so terrifying. The Bagges arrive in New York City; Muriel is going to perform the sitar at Radio City Music Hall. When they arrive, the family is intercepted by a giant cockroach named Schwick who claims to be a stagehand. Schwick sends Courage on a quest to fetch a mysterious package, which takes the dog to an apartment building full of terrors.
Behind each door lies some monster: King Ghidorah, a shark, and a seemingly normal little girl playing the violin. In a scene reminiscent of Large Marge from Pee-wee’s Big Adventure, the girl rapidly turns around to reveal a screaming claymation face. Jump scares are quite often not scary, but this children’s show has one of the most effective, perhaps because it’s so unexpected.
6 A Night at the Katz Motel
Cartoon Network
Katz is a reoccurring villain in the series, and “A Night at the Katz Motel” is his introduction. In a clear homage to Pyscho, this episode sees Muriel, Eustace, and Courage forced to find shelter when driving home during a storm. They find the titular motel and meet its owner, Katz, who secretly plans to feed his guests to his collection of giant man-eating spiders.
Katz strikes an imposing figure, and his presence is accompanied by sinister theme music. What’s so especially frightening about him, though, is his sadistic personality: he literally wants to play with his victim before he kills him. Even if, in Courage’s case, that means a game of racquetball, Katz’s demeanor is what sells the scares.
5 Perfect
Cartoon Network
“Perfect” is the final episode of the series, and quite notably concludes on a hopeful note. In it, Eustace forces Courage to take classes with an elderly schoolteacher who insists upon perfection in everything the dog does. She constantly berates Courage for not being perfect, which causes him to have nightmares about his imperfections.
Many people most clearly remember the nightmare featuring a strange 3D figure ominously informing Courage that “you’re not perfect,” but all the nightmares are uniquely horrifying. Courage is seen in them getting hurt, or worse, hurting the ones he loves, because of his faults. This episode’s focus on the fear of failure is rather mature for young audiences, but its message, that our imperfections are the things that make us uniquely us, is a beautiful one for the series to end on.
4 The Demon in the Mattress
Cartoon Network
“The Demon in the Mattress” is an episode themed around TheExorcist, so there’s no surprise that it is one of Courage’s most frightening. Instead of Pazuzu, Muriel gets possessed by the demon in her new mattress, which causes her to levitate, spew vomit, and spin her head around completely. Courage even performs an exorcism to relieve Muriel of the demon, though this one is far sillier than anything found in the Bible. This episode is very explicit with its inspiration, meaning the scares were far more intense than kids were prepared for.
3 The House of Discontent
Cartoon Network
“The House of Discontent” features another of Courage’s most infamous visuals; the giant, glowing white face of the Spirit of the Harvest Moon. Another harvest season has come and nearly gone, and Eustace has yet again failed to grow anything on the farm. The farmer proclaims that he’s done trying to grow anything, which angers the Spirit, causing him to enact chaos around the house.
The Spirit does everything in its power to rid the farm of the Bagges, including some kitchen trouble in a scene reminiscent of Poltergeist. What people remember being afraid of from this episode is the Spirit itself and for good reason. The live-action head is one of the show’s most uncanny images: the pure white skin, the deep wrinkles, and the abyssal pitch-black eyes make the monster a horrific sight to behold.
2 King Ramses’ Curse
Cartoon Network
Even people who didn’t watch Courage growing up are probably familiar with “King Ramses’ Curse” because it left such a deep impact on its young audience. A mystical Egyptian tablet has been stolen, and when it ends up in Eustace’s hands all he can think about is how much money the find will net him. Unfortunately for him, Muriel, and Courage, the tablet is cursed, and the spirit of King Ramses sets three plagues upon their home.
The plot of this episode is exceedingly simple, but Ramses CGI design and spooky droning voice proclaiming “Return the slab or suffer my curse” is what stuck in children’s nightmares long into adulthood. That said, the Bagges ought to get better taste in music: Ramses’ jazzy theme is an absolute bop.
1 Freaky Fred
Cartoon Network
“Freaky Fred” is, without question, one of Courage’s freakiest episodes thanks to the titular character and the unique narration style. “Freaky Fred” tells the story of Muriel’s nephew coming to the farmhouse for a visit through grotesque, sing-song narration that constantly reminds us that Fred has a penchant for being “naughty.” A skinny man with a rictus grin and bearing some threateningly sharp scissors, Fred cuts a nightmarish figure that is absolutely horrifying, even if his greatest crime is just giving bad haircuts.
Given the rise of horror media that plays upon childish aesthetics made creepy, it’s no wonder that “Freaky Fred” would resonate with audiences both past and present.
The Producers Guild of America will hold its next PGA Awards at the Fairmont Century Plaza hotel in Los Angeles on Sunday, February 25, 2024, presidents Stephanie Allain and Donald DeLine announced on Wednesday. The 2024 installment will mark the 35th annual PGA Awards ceremony.
Here is this year’s PGA Awards calendar:
Eligibility Period for 2024 Producers Guild Awards
Theatrical Motion Pictures; Animated Motion Pictures; Documentary Motion Pictures; Television Series/Specials; Streamed or Televised Motion Pictures; Sports Children’s and Short Form: January 1, 2023 – December 31, 2023
Notice of Producing Credits Form Deadline
Documentary Motion Pictures: Friday, September 1, 2023
Television Programs (Television Series/Specials; Streamed or Televised Motion Pictures; Sports Children’s and Short Form): Friday, September 29, 2023
Theatrical Motion Pictures and Animated Motion Pictures: Friday, October 13, 2023
Screener Submission Deadline
Documentary Motion Pictures: Friday, September 1, 2023
Nomination Polls Open
Sports, Children’s and Short Form: Thursday, November 30, 2023
Television Series/Specials and Streamed or Televised Motion Pictures: Thursday, December 14, 2023
Theatrical Motion Pictures and Animated Motion Pictures: Thursday, December 21, 2023
Nomination Polls Close
Sports, Children’s and Short Form: Thursday, December 14, 2023 (2:00 pm PST)
Theatrical Motion Pictures; Animated Motion Pictures; Television Series/Specials; Streamed or Televised Motion Pictures: Thursday, January 11, 2024 (2:00 pm PST)
Nominees Announced
Documentary Motion Pictures: Tuesday, December 12, 2023
Sports, Children’s and Short Form: Friday, December 15, 2023
Theatrical Motion Pictures; Animated Motion Pictures; Television Series/Specials; Streamed or Televised Motion Pictures: Friday, January 12, 2024
Final Polls Open
Theatrical Motion Pictures; Animated Motion Pictures; Documentary Motion Pictures; Television Series/Specials; Streamed or Televised Motion Pictures: Monday, January 22, 2024
Sports, Children’s and Short Form: Friday, January 26, 2024
PGA’s East and West Coast Celebrations of the 2024 Producers Guild Awards Nominees and Producing Teams
Final Polls Close
Sports, Children’s and Short Form: Thursday, February 8, 2024 (2:00 pm PST)
Theatrical Motion Pictures; Animated Motion Pictures; Television Series/Specials; Streamed or Televised Motion Pictures: Thursday, February 15, 2024 (2:00 pm PST)
Awards Show
Sunday, February 25, 2024
Funny or Die CEO Mike Farah and chief creative officer Joe Farrell will once again return as 2024 Producers Guild Awards event chairs. The 2024 Producers Guild of America Awards will be produced by Anchor Street Collective for the PGA. Branden Chapman is executive producer, Carleen Cappelletti is co-executive producer and Sunshine Sachs Morgan & Lylis is PR agency.
The 2023 Producers Guild of America Awards saw A24’s “Everything Everywhere All at Once” triumph, winning the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures.
Actor-producer Tom Cruise was honored with the David O. Selznick Achievement Award, which recognizes a producer or producing team for their extraordinary body of work in motion pictures. Mindy Kaling received the Norman Lear Achievement Award in Television; Michael De Luca and Pamela Abdy won the Milestone Award; and the film “Till” received the Stanley Kramer Award.
On the television awards side, HBO’s “The White Lotus” won the drama series category with FX’s freshman series “The Bear” topping comedy. FX’s “The Dropout” ended its awards season run by winning limited series while the Roku Channel’s “Weird: The Al Yankovic Story” winning TV movie. See the full list of the 2023 winners here.
Róisín Murphy returned from hibernation earlier this year to ring in “silly season” with a rapturous bird call from the heart. On her latest single, “The Universe,” from her forthcoming DJ Koze-produced album Hit Parade, the Irish diva celebrates by dialing the absurdity up to 10. Over an out-of-time electric guitar strum, she conjures up a perfect day, luxuriating in gorgeous weather and waves nudging her sailboat along.
If this sounds like the faux-gratitude of a caftan-wearing “live laugh love” type, Murphy is down to ham it up. Zapping in and out of the mix, the singer adopts an ultra-processed, Arklow-via-Long Island accent to narrate her internal dialogue: marveling over a psychedelic sunset, gawking at the sight of her captain abandoning ship. It’s a bonkers detour, so she swerves into an even weirder direction: interpolating “Row Row Row Your Boat.” You can’t quite call “The Universe” smooth sailing, but following Murphy’s bottomless weirdness is its own remarkable ride.
TRIBECA FILM FESTIVAL 2023 REVIEW! Afghanistan was once known for its beautiful landscapes, cultural progression, and peace. However, a decade-long war with the Soviets and the United States intervention toppled the nation. Moreover, it caused a wave of religious extremism that backfired in the States in 2001. What led further was a two-decade civil war in the hills that took lives at an unprecedented rate and scale. Now, Afghanistan is in shambles, facing the oppression of citizens, violation of civil rights, and denial of the right to existence. One can blame all parties involved from all the reports and investigative journalistic articles for the chaos that has doomed a once flourishing nation. But what about the ones who held no weapons yet suffered the most unfathomable loss and pain? Who cares for the people forced to live in shackles of threat and danger? What about the PEOPLE?
“An Afghan-born journalist returns to her homeland to investigate her family’s killings…”
The Night Doctrine is a personal story that traverses the true impact of the Afghan war on those whose voices never made it1 through the loud bombings and gunshots. Based on the accurate account of journalist Lynzy Billing and her investigative reports, ‘The Night Raids’ that unravel the Central Intelligence Agency’s role in unverified raids in Afghan villages during the States’ War on Terror – The Night Doctrine follows Lynzy’s years of research into Zero Units’ killings they executed for CIA while simultaneously searching for those who similarly murdered her family.
Told through a series of montages of animated illustrations by Mauricio Rodriguez-Pons, The Night Doctrine features narration from Lynzy herself. At the same time, voice actors step in for some of the Zero Units soldiers she interviewed during her investigation. The sixteen-minute short film overlaps monologues and conversations to immerse the audience in its determination of the real culprit behind the losses of war. The Zero Units soldiers, Baseer and Hadi (names changed), recount their remorseful role in multiple killings. At the same time, Lynzy struggles to find her personal closure during her rigorous dive into the depths of these unjust night raids.
More than a century after it sank, the first ever full-sized scans of the Titanic show the historic shipwreck in astonishing detail.
Experts have taken thousands of digital images to create an incredible 3D reconstruction of the wreck, which now lies 350 nautical miles off the coast of Newfoundland, Canada.
The images, published by the BBC, reveal the wreckage in greater detail than ever before, including stalactites of rust on the ship’s bow, the serial number on a propeller, and a hole over where the grand staircase once stood.
They present Titanic almost as if it’s been retrieved from the water, although this will likely never happen as the wreck is so fragile that it would disintegrate under any movement.
Experts hope studies of the scans could reveal more about the mysteries surrounding what happened on the fateful night in April 1912, such as the exact mechanics of how it struck the seafloor.
The images, published by the BBC, reveal details in greater detail than before. Pictured is the ship’s bow, much of which is buried under mud due to the force of impact when it hit the ocean floor in the early hours of April 15, 1912
Images show the stern (the back of the ship) as a twisted mess of metal, after it hit the ocean floor still rotating in a counter-clockwise direction
The luxury ocean liner – owned and operated by British company White Star Line – tragically sank in the early hours of April 15, 1912 after a collision with an iceberg in the Atlantic Ocean, killing an estimated 1,517 of the 2,224 people on board.
The remains now lie on the seafloor about 350 nautical miles off the coast of Newfoundland, Canada, although the delicate wreck is deteriorating so rapidly underwater that it could disappear completely within the next 40 years.
‘There are still questions, basic questions, that need to be answered about the ship,’ Titanic analyst Parks Stephenson told the BBC.
‘[The model is] one of the first major steps to driving the Titanic story towards evidence-based research – and not speculation.’
Mr Stephenson said he was ‘blown away’ when he first saw the scans, which were taken by deep-sea mapping company Magellan Ltd during an expedition last summer and which will be the subject of a documentary by Atlantic Productions.
‘It allows you to see the wreck as you can never see it from a submersible, and you can see the wreck in its entirety, you can see it in context and perspective,’ Mr Stephenson said.
‘And what it’s showing you now is the true state of the wreck.’
Titanic broke in half just before it made its final plunge in the early hours of April 15, 1912, and now two parts of the ship – the bow and the stern – lie 2,600 feet apart.
Both halves are surrounded by a field of debris consisting of bits of metal, pieces of furniture, unopened champagne bottles and even passengers’ shoes.
Magellan Ltd sent submersibles to survey all parts of the wreck, which lies around 13,000 feet under the water’s surface.
The submersibles spent more than 200 hours taking 700,000 images of every angle of the ship to create the 3D reconstruction.
Images show stalactites of rust on the ship’s bow, the serial number on a propeller, and a hole over where the grand staircase once stood
Titanic’s grand staircase was possibly the most famous part of the first-class section of the RMS Titanic. Pictured is the hole over where the staircase was located
The grandest ship: RMS Titanic departing on its maiden voyage from Southampton on April 10, 1912. The remains now lie on the seafloor about 350 nautical miles off the coast of Newfoundland, Canada
Constructed by Belfast-based shipbuilders Harland and Wolff between 1909 and 1912, RMS Titanic was the largest ship afloat of her time
Titanic: Basic facts
Constructed by Belfast-based shipbuilders Harland and Wolff between 1909 and 1912, RMS Titanic was the largest ship afloat of her time.
Owned and operated by the White Star Line, the passenger vessel set sail on her maiden voyage from Southampton to New York on April 10, 1912.
On April 14, Titanic struck an iceberg at around 23:40 local time, generating six narrow openings in the vessel’s starboard hull.
The ship sank two hours and 40 minutes later, at 2:20am on April 15. An estimated 1,517 people died.
Deep-sea mapping of the ship makes it appear as if it has drained of all the water, making it easier to see what’s left in clearer detail compared with cameras and lights.
Images show the stern – the back of the ship – as a twisted mess of metal after it hit the ocean floor still rotating in a counter-clockwise direction.
The V-shaped bow is more recognisable, complete with railings, although much of it is buried under mud due to the force of impact.
Mr Stephenson said we still ‘really don’t understand’ everything about Titanic’s collision with the iceberg, so the new images could help reveal more.
‘We don’t even know if she hit it along the starboard side, as is shown in all the movies – she might have grounded on the iceberg,’ he said.
Constructed by Belfast-based shipbuilders Harland and Wolff between 1909 and 1912, the RMS Titanic was the largest ship afloat of her time.
Owned and operated by the White Star Line, the passenger vessel set sail on her maiden voyage from Southampton to New York on April 10, 1912.
The liner made two short stops en route to her planned Atlantic crossing – one at the French port of Cherbourg, the other at Cork Harbour, Ireland, where smaller vessels ferried passengers on and off board.
On April 14, the Titanic struck an iceberg at around 23:40 local time, generating six narrow openings in the vessel’s starboard hull, believed to have occurred as a result of the rivets in the hull snapping.
Owned and operated by the White Star Line, the passenger vessel set sail on her maiden voyage from Southampton to New York on April 10, 1912. Pictured: Cafe Parisien on board Titanic
On April 14, Titanic struck an iceberg at around 23:40 local time, generating six narrow openings in the vessel’s starboard hull. Pictured: The Aft First Class staircase
Experts hope studies of the scans could reveal more about the mysteries surrounding what happened on the night it sunk, such as the exact mechanics of how it struck the seafloor
The wreck of Titanic now lies 350 nautical miles off the coast of Newfoundland, Canada
The wreck wasn’t located until September 1, 1985, a discovery that made global headlines.
While some shipwrecks have been brought to land, it’s likely this will never happen with Titanic.
Experts think it is too delicate to be moved due to deterioration from corrosion, biological activity and deep ocean currents. There would be moral implications, too.
British Titanic survivor Eva Hart, who lost her father to the disaster, said shortly before her death in 1996: ‘I hope severely that they will never attempt to raise part of it.
‘I do hope they will remember this is a grave – a grave of 1,500 people who should never have died, and I don’t think you should go down there and rob graves and I’m very much opposed to it.’
DISASTER IN THE ATLANTIC: HOW MORE THAN 1,500 LOST THEIR LIVES WHEN THE TITANIC SUNK
The RMS Titanic sank in the North Atlantic Ocean on April 15, 1912, after colliding with an iceberg during her maiden voyage from Southampton to New York.
More than 1,500 people died when the ship, which was carrying 2,224 passengers and crew, sank under the command of Captain Edward Smith.
Some of the wealthiest people in the world were on board, including property tycoon John Jacob Astor IV, great grandson of John Jacob Astor, founder of the Waldorf Astoria Hotel.
Constructed by Belfast-based shipbuilders Harland and Wolff between 1909 and 1912, the RMS Titanic was the largest ship afloat of her time
Millionaire Benjamin Guggenheim, heir to his family’s mining business, also perished, along with Isidor Straus, the German-born co-owner of Macy’s department store.
The ship was the largest afloat at the time and was designed in such a way that it was meant to be ‘unsinkable’.
It had an on-board gym, libraries, swimming pool and several restaurants and luxury first class cabins.
There were not enough lifeboats on board for all the passengers due to out-of-date maritime safety regulations.
After leaving Southampton on April 10, 1912, Titanic called at Cherbourg in France and Queenstown in Ireland before heading to New York.
On April 14, 1912, four days into the crossing, she hit an iceberg at 11:40pm local time.
James Moody was on night watch when the collision happened and took the call from the watchman, asking him: ‘What do you see?’ The man responded: ‘Iceberg, dead ahead.’
By 2.20am, with hundreds of people still on board, the ship plunged beneath the waves, taking many, including Moody, with it.
Despite repeated distress calls being sent out and flares launched from the decks, the first rescue ship, the RMS Carpathia, arrived nearly two hours later, pulling more than 700 people from the water.
It was not until 1985 that the wreck of the ship was discovered in two pieces on the ocean floor.
A popular Android parental control app carried multiple vulnerabilities which allowed the children to bypass parental controls, and threat actors to install malware or steal sensitive data from the flawed devices.
The app in question is called Parental Control – Kids Place, built by a company called Kiddowares. It has more than five million downloads on Google Play, and offers all kinds of parental control features, from monitoring and geolocation, to internet restrictions and payment restrictions. Parents can also track how their children spend time on the device, and make sure they’re safe from any malicious content.
The findings were outlined in a report from cybersecurity researchers SEC Consult, which is now urging users to update the apps to the latest version immediately.
Deploying malware
Now, SEC Consult’s researchers found versions 3.8.49 and older vulnerable to five flaws.
The first allows threat actors to intercept and decrypt user registration and login data, meaning they could be able to obtain sensitive information such as login credentials.
The second, tracked as CVE-2023-29079, allows for cross-site scripting attacks, which threat actors can use to inject malicious scripts into the dashboard of the parents. The third one, tracked as CVE-2023-29078, is a cross-site request forgery (CSRF) flaw, while the fourth one allows the attackers to send files up to 10MB in size to the child’s device.
This one is particularly dangerous as the files are uploaded to an AWS S3 bucket, where they’re not scanned and could contain malware. The fifth one, tracked as CVE_2023-28153, allows the children (or threat actors) to temporarily remove all usage restrictions. Unless they manually check in the dashboard, the parents won’t know this change occurred.
The researchers said that all versions prior to 3.8.50 are vulnerable, and have urged the users to update, immediately. The patch was released on February 14, 2023.
Brian Kilmeade brought in the largest total viewers among rotating ”Fox News Tonight“ hosts Lawrence Jones and Kayleigh McEnany
Whereas Carlson’s second to last week on the network from April 10 through April 14 averaged 3.19 million total viewers and his last week on the network from April 17 through April 21 averaged 3.02 million total viewers, the three weeks since rotating hosts took over the 8 p.m. hour have averaged 1.53 million total viewers in the timeslot, according to Nielsen live plus same-day figures, marking a 52% and 49.3% decrease in total viewership, respectively.
The network has been rotating through weekly hosts before deciding on its permanent host, with the first being Brian Kilmeade, the second being Lawrence Jones and the third being Kayleigh McEnany, all of whom have completed their week-long anchoring duties. This week will be anchored by “Fox & Friends Weekend” co-host Will Cain.
So far Kilmeade, who subbed in for the week following Tucker’s abrupt exit — including the Monday that the announcement shook the cable news world — is leading the charge ratings-wise, with the highest total average viewers and the largest viewership among the key cable demographic of adults 25-54. Kilmeade brought in 1.65 million total viewers on average during his week hosting, while Jones followed closely in second place with 1.51 million total viewers on average and McEnany came in third place for total viewers with 1.42 million total viewers.
Kilmeade maintains his lead in the demo with 162,800 viewers in the advertising demo on average for his week hosting. This time, however, McEnany edged her way to second place with 146,800 viewers in the demo during the timeslot while Jones came in third place with an average of 142,000 viewers in the demo.
It’s worth noting that Kilmeade’s week of hosting might have been boosted by the high-profile attention stirred up by Carlson’s departure from the network, as viewers might have tuned in on that Monday evening to see if Kilmeade would address the exit — which he did.
Whereas the broadcast on Monday, April 24 brought in 2.597 million total viewers on average — almost on par with the 2.646 million viewers brought in by Carlson’s previous Friday night broadcast — viewership decreased by the Tuesday as 1.7 million viewers tuned into Kilmeade’s second evening on air. Viewership continued to fall for the rest of the week, with Wednesday, April 26 averaging 1.3 million viewers, Thursday averaging 1.5 million viewers and Friday drawing in 1.2 million viewers.
Brian Kilmeade and Lawrence Jones (Courtesy of Fox News)
Likewise, Kilmeade’s demo figures at the top of the week were also likely elevated by the controversy surrounding Carlson, as Monday drew in 294,000 viewers in the demo — just north of Carlson’s Friday demo viewership of 270,000 but still south of Carlson’s average weekday figures. Similarly, demo viewership also dropped throughout the week as Kilmeade hosted, with Tuesday receiving 149,000 viewers in the demo and Wednesday bringing in 124,000 demo viewers, while Thursday drew in 136,000 demo viewers and Friday saw a demo viewership of 111,000.
For Jones, who hosted the second week of the 8 p.m. hour post Carlson from May 1 through May 5, ratings remained relatively steady throughout the week as Jones took the No. 2 spot among the rotating hosts in terms of total viewers with an average viewership of 1.51 million total viewers. Jones averaged the lowest demo viewership of the three rotating hosts so far with an average of 142,000 viewers in the demo, with Friday, May 5 slipping to 90,000 viewers in the demo — lower than CNN’s “Anderson Cooper Tonight’s” demo viewership of 99,000 and MSNBC’s “All In With Chris Hayes’” demo viewership of 145,000 during the same hour.
As viewers tuned in to see McEnany take the 8 p.m. reins in the third week since Carlson’s ouster from May 8 to May 12, the former White House Press Secretary’s first evening as host on Monday, May 8 had the highest total viewership and demo viewership with 1.6 million total viewers and 161,000 viewers in the demo. The rest of the week remained steady as McEnany solidified her spot in third place for total viewers with 1.42 million total viewers and scored second place in the demo with an average 146,800 viewers in the demo tuning into the hour.
McEnany’s week appeared to be relatively unaffected by CNN’s explosive town hall with Donald Trump on Wednesday, May 10 that scored 3.3 million total viewers for CNN, though Wednesday’s Fox News’ figures are comparable to those of Friday, May 12 as both dates experienced the same demo viewership of 136,000 while and Wednesday’s total viewership of 1.35 just exceeds Friday’s total viewership of 1.3.
Kayleigh McEnany (Getty Images)
So far, Cain’s first night of hosting the hour on Monday, May 15 drew in 1.6 million total viewers — south of Kilmeade’s total viewership average of 1.65 million total viewers — and 169,000 viewers in the demo — just above Kilmeade’s average demo viewership of 162,800.
Despite the changes, Fox News has maintained its top spot as the highest-rated network in primetime and total day across the board in viewers and in the demo.
On Wednesday morning, the Drudge Report reported the network would further shake up the primetime lineup with Sean Hannity taking the 8 p.m. while Jesse Watters and Greg Gutfeld are transitioned to primetime spots.
“No decision has been made on a new primetime lineup and there are multiple scenarios under consideration,” a Fox News spokesperson told TheWrap on Wednesday.
What might have felt like double jeopardy has turned into a double win for Ed Sheeran, as the pop superstar prevailed in yet a second copyright infringement lawsuit filed over the song “Thinking Out Loud,.” The same judge who oversaw the previous case dismissed this additional suit on Tuesday before it ever got to trial.
This like-minded lawsuit had been filed by Structured Asset Sales LLC, another party with an interest in the 1973 Marvin Gaye hit “Let’s Get It On,” similarly contending that Sheeran’s 2014 smash infringed on the previous song’s copyright. The company owns part of songwriter Ed Townsend’s share of the Gaye tune; it was heirs of Townsend who filed the previous unsuccessful lawsuit. The result was much the same, with or without a trial, with the elements shared by the two tunes being judged “common.”
In dismissing Structured Asset Sales’ suit, U.S. District Judge Louis Stanton wrote, “It is an unassailable reality that the chord progression and harmonic rhythm in ‘Let’s Get It On’ are so commonplace, in isolation and in combination, that to protect their combination would give ‘Let’s Get It On’ an impermissible monopoly over a basic musical building block.”
Stanton had previously ruled that the Structured Asset Sales lawsuit should be heard by a jury, but he reversed himself in dismissing it Tuesday, likely influenced by the speed with which a panel of jurors found Sheeran not liable in the previous case, after just a few hours of deliberation on May 4.
Reuters reported that Sheeran is not yet clear of “Thinking Out Loud” court cases, however, as Structured Asset Sales has one more lawsuit still pending the court system over the contested song.
In this third lawsuit, Structured Asset Sales is seeking to have the recordings of “Thinking Out Loud” compared, versus the compositions. In the case that was just heard by a jury, the two records were not played in court, as the case technically came down to how the songs compared as sheet music — not “feel.”
The owner of Structured Asset Sales is investment banker David Pullman, famous for his “Bowie Bonds.” He sued Sheeran, Warner Music Group and Sony Music Publishing five years ago, several years after the Townsend heirs filed their separate suit. Pullman told Reuters that he believes having the recordings of “Let’s Get It On” and “Thinking Out Loud” played in court will make the difference for a jury, in this third and (maybe?) final suit: “Their biggest fear, in terms of everything they’ve filed, has been to prevent the sound recording from coming in,” the banker said.
In an interview with Variety earlier this month after the jury’s verdict in the previous case, Ilene Farkas, the lead attorney from Pryor Cashman, which handled Sheeran’s defense, said, “He is certainly thrilled about the decision. He feels vindicated, but he feels not only vindicated for himself, but for all songwriters. There have been many, many, many songwriters who reached out to him during this trial in support of what he was doing, and so he felt a tremendous obligation. That’s a big weight on your shoulders. There were dozens and dozens of strangers who reached out to me, just songwriters and professors of musicology, and just consumers of music who all were in support of Ed and the impact that this case was going to have potentially on songwriting.”
Farkas reiterated that Sheeran felt it was important to take these cases to trial, if need be, and not give in and quietly settle the cases, as so many songwriters have in past instances. “As he said in his statement, this has to stop. I think he meant those words.”
Fans and critics may disagree over when exactly the “Fast & Furious” franchise jumped the shark, but there is only one correct answer: When the Pontiac Fiero went into space.
Weightless and violating every physical law, the floating car — tasked with bumping a satellite in the ninth installment — was the very symbol of how bloated and crazed the once-plucky series had become. There really was no way down after that.
And yet we have come to 10, part of a planned series of films finally saying goodbye. “Fast X” is, thankfully, shackled to Earth’s gravity — sometimes tenuously, it must be said — but it has become almost camp, as if it breathed in too much of its own fumes.
“Fast X” reaches into the fifth movie — 2011’s “Fast Five” — for the seeds to tell a new story. In a memorable moment five movies ago, Vin Diesel’s Dom Toretto wrecked a bad guy and his team on a bridge in Rio de Janeiro. Little did we know then, but that bad guy had a son who survived and now, years later, vows vengeance. That’s it. That’s the plot.
That said, “Fast X” is monstrously silly and stupidly entertaining — just Wile E. Coyote stuff, ridiculous stunts employing insane G-forces and everything seemingly on fire. There are elements of “Mission: Impossible,” 007 and “John Wick,” as if all the action franchises were somehow merging. But here’s a warning: It careens to an end without a payoff, a more dangerous stunt than any in the movies themselves.
The film would not be near enough as fun without Jason Momoa, who plays the bad guy’s son as a full-on flamboyant psycho, licking a knife clean after killing someone with it and painting the toenails of a dead victim as he displays the corpse in a demented garden party. “Never accept death when suffering is owed,” he says.
He is half Joaquin Phoenix from “The Joker” and half Jack Sparrow from “Pirates of the Caribbean.” Momoa has a penchant for planning explosions and then standing on a high spot and throwing his arms wide like Christ the Redeemer as the blast wave hits. The film sags as soon as he’s not in it.
Momoa is part of the franchise’s familiar tactic of stacking ever more stars with not enough to do — this time we also welcome Brie Larson, Alan Ritchson, Daniela Melchior and Rita Moreno. There’s even a Pete Davidson cameo.
That’s on top of regulars Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Jordana Brewster, John Cena, Jason Statham, Charlize Theron, Sung Kang, Scott Eastwood and Helen Mirren, whose attempt once again at a working-class accent is comical. This is a clown car of talent. The poster for the film includes 14 characters, like an Avengers movie.
At the center is the always-sleeveless Diesel, who keeps getting exposed as a truly terrible actor, one who evidently only attended the Brooding 101 seminar in drama school. The filmmakers usually just prop him up in front of a wall of family photos and he stares at them intently. “I only care about protecting the people that I love,” he will growl.
Family — as fans of the franchise know well — is always central, or rather, a gothic zero-sum notion of blood’s bond explained with soap opera dialogue. Toretto must protect family no matter the cost (but apparently OK with leaving his 8-year-old son in someone else’s care as he drag races in Rio). “You know what your problem is?” teases Momoa. “Family. You can’t save them all.”
New director Louis Leterrier — from a screenplay by veteran Justin Lin and newcomers Zach Dean and Dan Mazeau — take us from Los Angeles to Antarctica, threatening much of Rome with a 20 kiloton bomb along the way and ending the movie at the side of a dam in Portugal in a cliffhanger. Stick around for the credits and even more mega-stars are promised for the next installment.
What you get this time are two brutal hand-to-hand fights, a car smashing two helicopters and rush hour traffic, car bombs, remote-controlled cars (big and small), vehicles that leap into the sky like salmon and a plane that drops a souped-up racer from its belly onto the highway.
Taking material from “Fast Five” means the delicate task of returning to Paul Walker, the franchise veteran who died in 2013. Old footage of Walker does appear in “Fast X” as the movie recreates events on that Rio bridge. It is handled respectfully and coolly. In a nice touch, Walker’s daughter, Meadow, has a cameo as a flight attendant.
With a foot in the past, one in the future and one on the gas, “Fast X” is pure popcorn lunacy. Was that too many feet? Oh, excuse us, you wanted logic?
“Fast X,” a Universal Pictures release, is rated PG-13 by the Motion Picture Association of America for intense sequences of violence and action, language and some suggestive material. Running time: 134 minutes. Three stars out of four.
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Nothing encapsulates the tumult in television these days more than the fact that CBS, one of the pillars of network television, has decided not to attend the industry’s traditional upfront week — when media giants make glitzy programming presentations to prospective advertisers — while Netflix will make its debut.
A year ago, when Netflix announced it would launch a subscriber tier supported by advertising, it was a seismic event in the history of the industry’s leading streamer. But so far, there’s been no quaking on Madison Avenue.
Five executives familiar with recent negotiations between advertisers and media companies say the Netflix offering is not likely to play a significant role in the industry’s next upfront market, when media companies try to sell the bulk of their commercial inventory for the coming season. Netflix’s ad-supported tier, which debuted in the U.S. in November, doesn’t have enough subscribers to generate the sizable crowds that blue-chip advertisers demand.
“Our move into advertising is pretty modest in terms of crawl, walk, run — and we’re definitely in the crawl phase,” Ted Sarandos, co-CEO of Netflix, says.
Even so, Netflix is taking a significant and symbolic swing this week. On May 17, a time slot that has for years been reserved for CBS’ showcase at Carnegie Hall, Netflix will join the parade of media companies pitching their wares to advertisers during upfronts week. (CBS, now part of Paramount Global, opted to host a series of smaller events in multiple cities this year.) Netflix’s plan to host a live event at the Paris Theater in midtown Manhattan, though, was scuttled at the last minute by the threat of a picket by the Writers Guild of America amid the ongoing writers strike.
Netflix is taking to the upfront at a momentous time. Executives on both sides of this year’s sales process concede they are entering a buyer’s market, with advertisers holding tighter to their dollars than they have during past upfronts. Many executives believe difficult economic conditions will encourage sponsors to tamp down their ad spending in the belief that ad prices won’t rise sharply later this year.
Netflix has already unveiled innovations that will catch marketers’ attention as the streamer’s ad-supported audience grows. Sponsors can pick a particular programming genre to which they may attach commercials and can even tag specific episodes in a series that might play best with a particular message or offer. Advertisers can also delineate a consumer age range, gender, or specific city, state, or marketing region.
Other ad deployments hint at the way Netflix might be able to place commercials in the future. One plan gives advertisers the chance to buy the first pre-roll impression that a subscriber sees on a specific calendar day. Another puts a commercial alongside the Netflix Top 10 list of the most-watched programs on any given day.
This stuff isn’t cheap, comparatively speaking. According to the various media executives, Netflix made an initial offer to marketers that called for a rate of $60 per thousand people reached, a metric known as a CPM that is central to most discussions about video advertising. But that figure is high, the executives advise; the CPM for most other ad-supported services is typically in the $20 to $30 per thousand range. Some executives suggested advertisers who did deals with Netflix may have done so for CPM’s priced at $50 or under. Netflix declined to make Jeremi Gorman or Peter Naylor, two of executives overseeing its ad-sales outreach, available for comment.
Ultimately, it’s the small number of consumer impressions that limit what Netflix can really do. A March report from Bloomberg suggested the company’s ad-supported tier had reached 1 million subscribers – a figure media buyers seem to be using in their calculations. But data culled by Antenna, a provider of subscription-service data, puts the number of subscribers to Netflix’ ad supported tier at around 938,000. That figure is smaller than estimated subscribers to Disney’s ad-supported Hulu and Disney+ (20.9 million) NBCUniversal’s ad-supported Peacock (15.5 million); 10.7 million to ad-supported Paramount+ (10.7 million; and Warner Bros. Discovery’s ad-supported tiers (7.2 million).
Some executives have suggested that the Netflix subscriber level is too small at present to meet guarantees it might have made to early sponsors. And they believe the condition may have resulted in clients getting money back, or, in some cases, not being billed immediately.
So why get involved with Netflix now? Despite the high pricing and low impressions, advertisers feel it’s only a matter of time before the streamer does something big — just like it did after it was dismissed by then-Time Warner CEO Jeff Bewkes in 2010. “It’s a little bit like, is the Albanian army going to take over the world?” the executive said at the time. “I don’t think so.” Those words haven’t aged well.
Putting a stake in the ground with Netflix –if one can stomach the high rates – may lead to better things in years to come. “Any sort of growing pains for their ad-supported product should have been expected, but are not insurmountable,” says David Sederbaum, executive vice president and head of video investment at Dentsu Media US, a large ad buyer that works for General Motors and Heineken, among others. He adds: “If they haven’t lived up to some initial forecasts, they have worked with us to make sure we are comfortable in what is ultimately landing.” Even Netflix knows what it’s like to start small.
Okay, we needed until mid-May for the company to decide, but Marvel has finally confirmed its 2023 release schedule.
Here’s everything you need to know about what’s coming soon.
What Just Happened?
Source: Marvel Studios
Timing is everything in Hollywood, and Marvel’s past few years are proof positive of this fact.
The start of the pandemic seemingly singled out the Marvel Cinematic Universe (MCU) and The Walt Disney Company.
Photo: Marvel
Movie theater closures forced Disney to reevaluate several of its releases, most notably Mulan and Black Widow, both of which were about to debut.
Each title wound up as a Disney+ Premier Access release, which caused a host of problems for the performers.
Black Widow star Scarlett Johansson eventually sued Disney and reportedly settled out of court for $40 million. That was the first of a series of Marvel misadventures.
During the pandemic, Disney’s computer animators fell behind on several Marvel projects, a fact that ultimately torpedoed Ant-Man and the Wasp: Quantumania.
Source: Marvel Studios
In the wake of corporate restricting/layoffs, the firing of Bob Chapek, and the financial struggles of streaming, Disney pulled back on its Marvel releases.
The studio planned a smaller 2023 schedule, especially on Disney+. Then, the writer’s strike occurred.
Source: Marvel Studios
During the second half of 2023, especially the final three months, consumers will face content scarcity.
So, Disney has decided that it should release more Disney+ series than it had planned just a few months ago.
The mantra in 2022 had been ALL THE MARVEL SERIES!!!
Source: Marvel Studios
Once Bob Iger returned as CEO and examined the company’s problems, he recognized that Marvel had suffered some with its infrastructure.
An article I wrote in early January indicated that as many as seven Marvel series could debut on Disney+ in 2023.
Source: Marvel Studios
At one point, Disney had cut that number as low as two! Now, we know for sure that three new Disney+ titles will debut in 2023, barring something unforeseen.
We oddly have the writer strike to thank for getting an extra Marvel series this year.
Secret Invasion – June 21st, 2023
Image: Marvel
Here’s one of the titles that Marvel previously delayed. In a perfect world, Secret Invasion would have finished or been near the end of its run.
That was the original plan for the project, which Marvel has indicated is the television equivalent of Avengers: Endgame.
Image: Marvel
While I’ve always suspected that statement is hyperbolic, a more recent comment comes with the ring of truth.
Marvel producers have sworn that The Marvels cannot happen without the events of Secret Invasion.
Image: Marvel
Since both the film and the series involve outer space shenanigans and alien shapeshifters, that’s a logical assertion.
Loki Season Two – October 6th, 2023
Source: Marvel Studios
Once Secret Invasion ends in August, we must wait a couple of months for the MCU follow-up.
Then again, that’s a drop in the bucket compared to what’s already happened.
The season finale of Loki, the one co-starring He Who Remains, first aired on July 14th, 2021.
Source: Marvel Studios
Folks, a six-episode limited series shouldn’t require 27 months between new episodes.
Of course, the fan irritation about the delay merely scratches the surface of what Marvel faces here.
Season two heavily features actor Jonathan Majors as Victor Timely, and well, you know…
Source: Marvel Studios
Marvel went all-in on Majors as a talent, which is an understandable choice, given his talent.
Sadly, recent allegations suggest that he might be…absolutely terrible as a person. We’re innocent until proven guilty in this country, but it’s not looking great.
Source: Marvel Studios
The entire management/representation team for Majors dropped him, and it’s too late in the process for Marvel to expend resources digitally replacing the actor.
A couple of projects like All the Money in the World and Army of the Dead switched out canceled actors for others.
Professor Loki. Photo: Uploaded to Pinterest by Kelly Holle (from Twitter)
If Marvel intended to do that, Loki season two wouldn’t be arriving in four months. So, here we are.
The first season of Loki was must-watch television, and I wouldn’t expect anything less from season two.
Depending on real-world revelations, it could be an awkward viewing, though.
The Marvels – November 10th, 2023
Photo: Screenrant
Here’s another project that Disney delayed for several months. At the start of the year, the scheduled release for The Marvels was July 28th.
Why the delay? Presumably, many of the climactic events of Secret Invasion directly tie into storyline elements of The Marvels.
Photo: Marvel
As a reminder, at the start of WandaVision, Captain Monica Rambeau was running errands for S.W.O.R.D., the secret agency her mother, Maria, founded.
Since then, Monica’s encounters with Wanda Maximoff have leveled up the younger Rambeau’s powers.
MARVEL’S VOICES: LEGACY #1 preview art by Natacha Bustos, colors by Rachelle Rosenberg. Photo: Marvel Comics
Secret Invasion needs to fill in some blanks about what happened in the interim. Otherwise, the entire first act of the movie may require tons of exposition.
We already don’t know why Kamala Khan has switched galaxies with Captain Marvel. If the story must explain Rambeau too much as well, it could get boring.
Source: Marvel
Of course, the real cause for the delay isn’t any of that. After what happened with Ant-Man and the Wasp: Quantumania, Disney wasn’t about to risk the special effects here.
Instead, the CGI crew gained an extra 15 weeks to perfect the visuals. That’s a necessary step since crunch absolutely wiped out Quantumania.
Source: Marvel Studios
Marvel has done a lovely job in regrouping afterward, thanks in large part to the success of Guardians of the Galaxy Vol. 3.
Still, the company is facing potential backlash right now over the impending comic book death of Kamala Khan, which Entertainment Weekly (!) has confirmed.
Photo: Dailymail.com
Marvel has developed an unforgivable habit of killing off characters as a way to emphasize their importance just before they appear in new movies/TV shows.
Here’s the shocker here, at least in the wake of recent events.
At one point, Disney+ had slotted Echo as a summer 2023 release. So, we shouldn’t be surprised that it’ll debut this year.
I am, though. That’s because it appeared to fall into that void of Disney+ content that the company was saving to spread into 2024.
Marvel and Disney have reconsidered the plans for this series, and it’ll include a novel release strategy as well.
On November 29th, Disney+ will unveil all episodes of Echo season one. Yes, you can watch them all on that date!
No, I don’t understand why Disney+ is waiting until the week after Thanksgiving to do this.
After all, a quick glance at Nielsen streaming data for 2021 and 2022 will show that the holiday week is a gold mine for such content.
Disney must have a plan here. At a minimum, the company is performing an experiment and seeks clear-cut results, not holiday-inflated ones.
The oddity of the release strategy is that Disney went from wanting more content to a conservative approach for 2023.
Echo and Hawkeye. Photo: Reddit User: u/Green-Devil
Now, Marvel has switched back with another release this year in Echo. However, the company won’t stretch out the content.
Instead, Disney+ will utilize the binge-watching strategy made famous by Netflix.
Source: Marvel Studios
Importantly, Echo will arrive 19 days after The Marvels. So, we’ll enjoy a ton of Marvel content this November!
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Robert Pattinson’s Batman is coming back in a sequel to Matt Reeves’ The Batman, appropriately titled The Batman – Part II, and along with continuing exploring Bruce Wayne’s story, it can finally fix a big complaint about his fortune. As one of the most popular comic book characters ever, Batman has been adapted to the big screen various times, some more successful than others, and after the mixed reception of Ben Affleck’s Batman as part of the DCEU, the Caped Crusader got another adaptation separate from the DCEU in The Batman, following a younger Bruce Wayne who’s on his second year of crime-fighting in Gotham City as the mysterious vigilante Batman.
SCREENRANT VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT
The Batman saw the title character teaming up with James Gordon (Jeffrey Wright) and the Gotham City Police Department to catch a serial killer known as The Riddler (Paul Dano). This took Batman into Gotham’s criminal underworld, where he crossed paths with Carmine Falcone (John Turturro), Oswald Cobblepot a.k.a. Penguin (Colin Farrell), and Selina Kyle (Zoë Kravitz), with the latter becoming his ally. The Batman – Part II will explore the aftermath of the disaster that almost destroyed Gotham at the end of The Batman, and this is the perfect opportunity to fix one big complaint about Bruce Wayne’s fortune and what he does with it.
Batman Spends Too Much Of His Time And Money Being Batman In DC Movies
A big part of Batman’s appeal is that he’s not a man with superpowers, and instead, he’s a normal human who relies on gadgets and technology to become Gotham’s vigilante. Of course, this is possible thanks to Bruce Wayne’s fortune, but the way he manages his time and money has been criticized by readers and viewers for years. Bruce Wayne is the son of Martha and Thomas Wayne, the latter a gifted surgeon and philanthropist who inherited the Wayne family fortune after Patrick Wayne. Following the death of his parents, Bruce inherited the family fortune and Wayne Enterprises, and years later, he took the traumatic experience of his parents’ murder as motivation to train in different types of combat to become a vigilante in Gotham – and his wealth played a big role in helping him become Batman.
As mentioned above, Batman has been adapted to the big screen various times, and while they all have different styles and tones, they haven’t ignored Bruce’s fortune and its role in his transformation into Batman, as it’s thanks to it that he can have the Batcave, the suit (and different variations of it), the Batmobile, all his gadgets, and more. Meanwhile, Gotham is at its worst, with the wealthy not caring about the poor, and criminals taking advantage of the necessities of most citizens and doing as they please, taking control of the city, its politicians, police officers, and more. Bruce’s wealth allows him to be Batman and thus fight crime in the streets of Gotham, but he spends too much of his time, energy, and money coming up with new stuff for his Batman persona and being Batman, rather than using his fortune to actually help the city in bigger ways than fighting criminals.
The Batman Began Exploring The Role Of Bruce’s Fortune In Helping Gotham
Of course, The Batman didn’t ignore Bruce Wayne’s fortune either, but it did a bit more than past movies as it began exploring the role of Bruce’s fortune in helping Gotham City. During the funeral of Gotham’s mayor, Don Mitchell Jr., Bruce is approached by Bella Reál (Jayme Lawson), a mayoral candidate for Gotham City, who tells Bruce that his family has a history of philanthropy and, as far as she could tell, he hadn’t been doing anything, but he could definitely do more to actually help the city. The Batman also changed The Riddler’s backstory, making Edward Nashton an orphan who grew up in Gotham Orphanage, which was the former Wayne Manor which the family donated after the completion of Wayne Tower. However, after Thomas and Martha’s death, the Gotham Renewal Program’s funding stopped, and the orphanage fell into neglect.
This led Edward to develop a grudge against the Wayne family, envying Bruce for being an orphan who grew up rich while he and other orphans grew up in terrible conditions. Through The Riddler’s backstory, The Batman raised questions about the role of economic security in preventing crime, further showing that Bruce could use his fortune in much more effective ways to actually help Gotham than spending most of it in becoming Batman.
How Bruce Wayne’s Fortune Is Better For Gotham Than Batman
While investing his time and money in becoming Batman and improving the suit, gadgets, Batmobile, and more indirectly helps Gotham City as it helps Bruce be a vigilante, there are better ways in which he could use his fortune to actually help and improve Gotham. Bruce could use his money to fund the GCPD, fix and improve Arkham Asylum (which in every Batman movie hasn’t really been at its best) so it can be an effective rehabilitation and mental health facility, and invest in orphanages, schools, hospitals, and more to ensure that the residents of Gotham don’t have to live in horrible conditions that could lead them to turn to crime at some point, as happened with The Riddler. Bella Reál was right when she told Bruce that he doesn’t really follow the history of philanthropy of the Wayne family, and being Batman doesn’t make up for all the ways in which he can actually help and improve the city with all the money he has.
Why The Batman 2 Is The Perfect Movie To Fix Complaints About Bruce Wayne’s Fortune
The Riddler’s plans continued after he was sent to Arkham State Hospital, as he had planted car bombs around Gotham and gathered an online following that would carry on with his plans. The bombs destroyed the seawall around the city, flooding it and causing major damage, and at the end of The Batman, the Caped Crusader was aiding recovery efforts and vowed to inspire hope in Gotham. Although the plot details of The Batman –Part II are still unknown, the title implies that it will be a direct continuation of the first movie, meaning that it can explore how Gotham will recover from the flood. Gotham will need more financial aid, as homes, businesses, and more were damaged, so it’s the perfect opportunity to have Bruce Wayne finally use his fortune to help, fix, and improve Gotham City, as fighting criminals on the streets won’t help rebuild the city.
Just days after it launched, The Legend of Zelda: Tears of the Kingdom players have discovered a new glitch in the game that allows them to generate infinite resources. It’s relatively easy to pull off, doesn’t require you to have progressed too far into the game, and once mastered, it can fill Link’s inventory up within minutes. You can probably expect Nintendo to patch this exploit very soon as it essentially upends the delicate economy of Tears of the Kingdom, but if you have a quick trigger finger, here’s how it works.
Requirements
As of version 1.1.0 of Tears of the Kingdom, the patch that was installed on launch day, this exploit still works. As mentioned above, Nintendo doesn’t mess around when it comes to plugging this holes in its games and a future patch will likely see this glitch removed from the game, so if you’re intending to use it, you’ll want to be quick.
For game progress, you’ll want to have unlocked the Fuse ability, have at least two bows, and the item that you want to duplicate. Oh, and very quick fingers.
How to create infinite items in Tears of the Kingdom
You’ll need to follow these steps to pull off the item duplication glitch, or you can check out the embedded tweet below for a visual guide.
Equip your bow by quickly pressing the ZR trigger.
Press up on your D-pad to bring up your inventory of materials.
Select the material that you want to duplicate and fuse it to your arrow.
Press the Start–or Plus–button to bring up your inventory.
Drop the equipped bow (it’s highlighted in blue).
Equip a new bow.
Now press the Start button twice as quickly as possible.
Drop your currently equipped bow.
Close your inventory screen.
Pick up both of your dropped bows.
And that’s it! With any luck, if you were quick enough, you just glitched in a duplicate of the item that you wanted to have more of. The nice thing about this glitch is that you won’t have to worry about losing any of your items, as you can simply reclaim them and try again if you fail.
This exploit comes in especially useful when you fuse rare gems to your arrows, as you can sell those for a premium to merchants in Hyrule, giving you all the Rupees you’ll need to acquire the gear that you want. You can also get extra materials for increasing the power of your weapons, ingredients to craft handy elixirs, and other rare items for when you start building machines. You can never have too much Zonai hardware, after all.
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Ask any independent producer and they’ll tell you: making movies is a piece of cake. Scouring the Earth for viable, quality material? Wrangling, gracefully, volatile talent egos? Raising stupid amounts of capital and wearily securing every stray element of physical production? Delegating responsibility, absorbing crew complaints and mallet-flattening nonstop whack-a-mole near-disasters? Shrewdly navigating distribution in a broken marketplace and finally—if you’re very lucky!—appropriately proportioning revenue shares under perpetual threat of litigation for the duration of your fleeting mortal existence? Like we said. Easy.
Just kidding. This is some of the hardest goddamn shit you’ll ever try to do. But for 30 years Film Independent has been doing all it can to support filmmakers across every discipline and career level. In theory, of course, producers are everyone else’s best resource—the adult in the room solving problems and providing steady leadership. But who watches the watchmenproduces the producers? Well, around here it’s the Film Independent Producing Lab.
To celebrate this very special anniversary year, we’re looking back at five of our favorite Film Independent Producing Lab success stories—and reminding would-be 2023 applicants that the final Memberdeadline is this Friday, May 19.
JOYLAND
Year: 2020
Producing Lab Fellow: Apoorva Charan
Where to Watch: Theaters (limited)
Why We Love It: In addition to securing this year’s Film Independent Spirit Award for Best International Film, director Siam Sadiq’s emotional queer romance—about the youngest son of a traditional Pakistani who becomes infatuated with a trans burlesque performer—was in part birthed by producer and Film Independent Fellow Apoorva Charan at the 2020 Lab, which, thanks to that year’s unprecedented global pandemic (pesky!), happened entirely online. The socially distanced nature of that year’s cohort didn’t prevent the film from getting made, however, eventually washing up on the beaches of southern France to premiere at Cannes in 2022. There, it won the Caméra d’Or for best debut feature. As critic Anthony Lane writes in his New Yorker review: “Sadiq is not lecturing us or trading in types; he is taking us by sensory surprise, and the tale that he tells is funny, forward and sometimes woundingly sad.”
Why We Love It: Released by indie juggernaut A24 and nominated for three jagged pewter seagulls at this year’s Spirit Awards, filmmaker Elegance Bratton’s deeply autobiographical narrative debut tells the story of a of young, gay Black man who joins the Marines, desperate for a support system the fill the void left by his mother’s cruel rejection. Producers Chester Gordon (Bratton’s husband) and Valerie Steinberg brought the project to Film Independent in 2019. Three years later the movie has its US premiere at the 2022 Film Independent Forum, following its successful debut at TIFF. In her review of the film for Vulture, Alison Willmore writes: “Bratton, who has an eye for compelling framing and unexpected beauty, has made something more complicated than a treatise against the power structures enshrined in the military, though he’s very aware of them.” The Inspection’s Spirit Award nominations included Best Supporting Performance (Gabriella Union), Best First Feature (Bratton, Gordon, Steinberg) and Best Lead Performance (Jeremy Pope).
FAREWELL AMOR
Year: 2019
Producing Lab Fellow: Huriyyah Muhammad
Where to Watch: Kanopy
Why We Love It: For her efforts, Farewell Amor writer/director Ekwa Msangi took home the coveted Someone to WatchAward at the 2020 Spirit Awards. The film, about the awkward reunification between an Angolan immigrant in the US and his wife after a 17-year estrangement, had previously climbed through the Film Independent transom in the form of a 2019 Producing Lab-supported project under the shepherding of Fi Fellow Huriyyah Muhammad. In 2022 the film entered the prestigious Criterion Collectionfor its home video release. In his review for The Wall Street Journal, Joe Morgenstern praised the film. “One of [the film’s] great strengths is its intimacy, the sense it conveys of three people close together—yet emotionally distant—in a small, narrow Brooklyn apartment. Another strength, and a huge one, is Mr. [Ntare Guma Mbaho] Mwine’s performance of Walter.”
SONGS MY BROTHERS TAUGHT ME
Year: 2011
Producing Lab Fellow: Angela Lee
Where to Watch: Kanopy, MUBI
Why We Love It: Songs My Brothers Taught Me didn’t just put Chloé Zhao on the career path to a Best Picture Oscar, it also gave Film Independent its own current reigning Director of Artist Development, Angela Lee, who first brought the project to Fi as a Producing Lab Fellow in 2011. Shot on location on the Pine Ridge Reservation in South Dakota, the thoughtful drama follows an indigenous family’s travails after the death of their patriarch and incarceration of its oldest sibling. Songs premiered at Sundance and was released in North America by Kino Lorber. Empire Magazine’s Ian Freer wroteof the film, “A striking debut from a blistering talent. What it lacks in narrative oomph it makes up for in beautiful imagery, natural performances and a worldview all its own.” No wonder Chloé messaged “I Heart Film Independent” in her Nomadland Spirit Award win!
THE MAN WHO KNEW INFINITY
Year: 2008
Producing Lab Fellow: Jim Young
Where to Watch: Tubi, Kanopy, Pluto TV
Why We Love It: An early Producing Lab project, brought by Fi Fellow Jim Young, director Matt Brown’s 2015 historical drama tells the story of Indian mathematician Srinivasa Ramanujan, based on 1991 Robert Kanigel biography of the same name. Starring Dev Patel—hot off Slumdog Millionaire—the movie also received a Film Independent Sloan Foundation grant for its studied depiction of scientific life. As critic Calvin Wilson wrote in the St. Louis Post-Dispatch: “The multiplexes are full of films that promise little more than a forgettable good time. The Man Who Knew Infinity is just as entertaining, but far more substantial.” Filmed at Trinity College in Cambridge, the film was released by Warner Bros. in the United Kingdom and by IFC Films in the US.
For more information on any of our Artist Development Labs or the projects that have been developed in them, please contact us. Additional information can be found at filmindependent.org. 2023 marks 30 years of Film Independent Artist Development.
Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To become a Member of Film Independent, just click here. To support us with a donation, click here.
We knew it was coming in June, and now we have the date.Sex and the City revival And Just Like That… Season 2 will premiere on Thursday, June 22 on Max.
The date was announced Wednesday during Warner Bros. Discovery’s Upfront presentation in NYC.
The 11-episode second season will debut with two episodes on June 22, followed by the remaining nine episodes weekly on Thursdays.
Series regulars Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, Sara Ramírez, Sarita Choudhury, Nicole Ari Parker, Karen Pittman, Mario Cantone, David Eigenberg, Evan Handler, Christopher Jackson, Niall Cunningham, Cathy Ang and Alexa Swinton will all be back for Season 2.
When Season 2 returns, Carrie (Parker), Charlotte (Davis) and Miranda (Nixon) are reunited and catching up on all the latest with Anthony (Cantone). While the show was on break, everyone was living it up in New York City.
And Just Like That... isdeveloped andexecutive produced by Michael Patrick King, alongside executive producers John Melfi, Julie Rottenberg, Elisa Zuritsky, Sarah Jessica Parker, Kristin Davis and Cynthia Nixon. Writers included Michael Patrick King, Samantha Irby, Susan Fales-Hill, Lucas Froehlich, Rachel Palmer, Julie Rottenberg and Elisa Zuritsky. Directors included Michael Patrick King, Cynthia Nixon, Ry Russo-Young and Julie Rottenberg. The HBO series Sex and the City was created by Darren Star and based on the book Sex and the City by Candace Bushnell.
Status: Ended”Working: What We Do All Day” is a TV show produced by Higher Ground Productions and Concordia Studio. The show was originally broadcast on Netflix and premiered on May 17th 2023. “Working: What We Do All Day” ended after 1 seasons and a total of 4 episodes.
Watch the trailer for “Working: What We Do All Day”
We will update this article throughout the season, along with all our predictions, so make sure to keep checking IndieWire for the latest news from the 2023 Emmys race. The nomination round of voting takes place from June 15 to June 26, with the official Emmy nominations announced Wednesday, July 12. The Creative Arts Emmy Awards will be presented over two consecutive nights on Saturday, September 9 and Sunday, September 10, with an edited presentation of the ceremonies to be broadcast on FXX at a later date. Finally, the 75th Annual Primetime Emmy Awards take place on Monday, September 18, and air live on FOX at 8:00 p.m. ET/ 5:00 p.m. PT.
See our previous thoughts on what to expect at the 75th Primetime Emmy Awards here.
The State of the Race
There is a level of resignation to the high chance that HBO will at least tie the record for most series nominated in one category within a year, given its surfeit of Outstanding Drama Series contenders. “Succession” won last year, despite being up against global phenomenon “Squid Game,” while “The White Lotus” won the Emmy for Outstanding Limited or Anthology Series, despite being up against the deluge of high-profile limited series that premiered spring 2022. Now, the two hit shows’ greatest competition is each other.
Genre programs have recently done well in the category, and both fantasy drama “House of the Dragon” and post-apocalyptic video game adaptation “The Last of Us” have Emmy-winning producers behind them, but the former two HBO shows have a sense of finality to them (with one fully ending, and the other closing the chapter on a beloved character), so a win for “Succession” or “The White Lotus” seems more urgent.
All that said, there is a chance all the votes for HBO dramas cancel each other out in some way, and make room for another network to win big. “Better Call Saul” is another show on its final Emmy run, earning 46 nominations over five and a half seasons, yet no wins. Unfortunately, history shows that the TV Academy way more often chooses to honor the actor(s) rather than the series itself when it hands out an Emmy as a parting gift, so AMC faces a steep uphill battle in this category.
Former Outstanding Drama Series winner “The Crown” (Netflix) and “The Handmaid’s Tale” (Hulu) have a better chance at winning according to statistics, but the specific seasons that are up for the award failed to resonate in any way close to the shows’ peaks.
Similarly, “Yellowjackets” (Showtime) has been in a sophomore slump according to several critics, but the same could have been said of “Ted Lasso,” which won Outstanding Comedy Series for its second season. Based on the several above the line nominations the survival series got, including two entries in the Outstanding Writing for a Drama Series category, fans of the show that also happen to be Emmy voters are more than likely to show even more love for “Yellowjackets” this time around, making it HBO’s greatest threat.
Current Contenders (In Alphabetical Order): “1923” (Paramount+) “Andor” (Disney+) “Bad Sisters” (Apple TV+) “Better Call Saul” (AMC) “The Boys” (Prime Video) “The Crown” (Netflix) “The Handmaid’s Tale” (Hulu) “House of the Dragon” (HBO) “The Last of Us” (HBO) “Lord of the Rings: The Rings of Power” (Prime Video) “The Mandalorian” (Disney+) “Star Trek: Picard” (Paramount+) “Succession” (HBO) “The White Lotus” (HBO) “Yellowjackets” (Showtime)
To see IndieWire’s full set of predictions for the 75th Emmy Awards click here.
Last Year’s Winner: “Succession” Still Eligible: Yes. Hot Streak: Although “Succession” has won the category the past two seasons it’s been eligible, both “The Crown,” which won the category during the HBO drama’s year off, and “The White Lotus,” a new category entry that won Best Limited Series last year, stand in its way of a three-peat. Notable Ineligible Series: “Severance” (Season 2 was not eligible); “Squid Game” (Season 2 was not eligible); “Bridgerton” (Season 3 was not eligible); “Euphoria” (Season 3 was not eligible); “The Morning Show” (Season 3 was not eligible); “Stranger Things” (Season 5 was not eligible); “Killing Eve” (ended); “Ozark” (ended); “This is Us” (ended)
Less than two weeks after a federal jury ruled that Ed Sheeran’s 2014 single “Thinking Out Loud” did not plagiarize elements of Marvin Gaye’s “Let’s Get It On,” the English musician has beaten a second lawsuit involving the two songs. According to court documents obtained by Pitchfork, a New York federal judge, Louis L. Stanton, dismissed a complaint originally filed against Sheeran and others in 2018 by Structured Asset Sales, LLC (SAS), whose CEO, David Pullman, owns one-third of the copyright to Ed Townsend’s catalog. Townsend co-wrote “Let’s Get It On” with Marvin Gaye, making Pullman partial owner of its copyright. Townsend’s family was behind the other major lawsuit against Sheeran.
In the complaint, viewed by Pitchfork, SAS alleged that “Thinking Out Loud” specifically infringed upon on the copyright of the sheet music for “Let’s Get It On.” The lawsuit also outlined multiple points of alleged plagiarism, including comparisons of the songs’ chord progressions, time signatures, bass lines, and more. At one point, SAS stated that Sheeran “experienced a sharp and sudden rise as an international music star in less than eighteen (18) months as a direct result of the commercial success of the release of “‘Thinking Out Loud.’”
Judge Stanton reached a similar conclusion to the jury who awarded Sheeran his trial victory earlier this month, dismissing the case with prejudice. “It is an unassailable reality that the chord progression and harmonic rhythm in ‘Let’s Get It On’ are so commonplace, in isolation and in combination, that to protect their combination would give ‘Let’s Get It On’ an impermissible monopoly over a basic musical building block,” Stanton wrote in the filing.
Stanton added that the chord progression for “Let’s Get It On” had been used “at least twenty-nine times” before Gaye and Townsend wrote the hit, and appeared in “another twenty-three songs” before “Thinking Out Loud” emerged.
“There is no genuine issue of material fact as to whether defendants infringed the protected elements of ‘Let’s Get It On,” Stanton wrote. “The answer is that they did not.”
As The Guardian notes, Sheeran is facing another pending lawsuit from SAS that compares the finished recordings of “Thinking Out Loud” and “Let’s Get It On.”
NOW IN THEATERS! Based on the manga Saint Seiya by Masami Kurumada, director Tomasz Baginski’s Knights of the Zodiac is the latest Big Hollywood entry into the YA Fantasy genre. Mackenyu stars as the orphan Seiya, whose sister, Patricia (Kaylan Teague), was kidnapped by a mysterious villain. Meanwhile, Athena, the goddess of war, has recently been reincarnated into the body of a young teen girl, Sienna (Madison Iseman).
Unfortunately, Sienna’s parents, Alma (Sean Bean) and Vander (Famke Janssen), are split between Vander, who thinks she needs to be destroyed to save the world, and Alma, who believes Athena will do the right thing. A younger Sienna severely injured her mother long ago after experiencing a “cosmo” surge. Now, Vander is searching for Sienna, who Alma has hidden in a secret lair. Helping the search is the Phoenix Knight, Nero (Diego Tinoco), and the sadistic Cassios (Nick Stahl). Alma and Nero have discovered a way of draining people of their “cosmo” powers and instilling them in Vander, giving her god-like power. Their mission is to find Sierra and drain her of all her powers.
Called to protect Sienna is Seiya, who learns he has been endowed as a Pegasus Knight thanks to a mystical pendant. With the help of Alma’s aid, Mylock (Mark Dacascos), Seiya is sent to the mystic home of the masked Marin (Caitlin Hutson), who deems Seiya worthy of training. But can Seiya find a way to unlock the Pegasus Knight’s power and unleash his true destiny?
My biggest problem with Knights of the Zodiac is that it’s a soulless story. We’ve all seen this before in other YA and Disney-channel-like productions. A young teen has a mystical destiny that comes with extraordinary powers, and they have to go on a soul-searching journey or experience trials to unlock their abilities. But, again, it’s all been done before. Now that wouldn’t be the biggest of problems, save that the film is missing any meaningful subtext. Seiya is driven by a need to save his sister and now Sienna. On the other hand, Sienna is a young teen locked up in a castle because her powers (and destiny) are world-endingly dangerous. This is not enough to tell an exciting story, even for teens with questionable taste.
Madison Iseman in Stage 6 and Toei Animation KNIGHTS OF THE ZODIAC
“Called to protect Sienna is Seiya…a Pegasus Knight…”
This lack of an engaging plot means the film becomes a soulless series of adventures and fight sequences with no heart or motivation behind them other than good versus evil. There is a reason Seiya can’t access his powers, but honestly, it’s not deep enough, especially for a character that is meant to carry this film and its potential sequels. It really should be a trait that teens are deeply connected to. Allow me to direct you to Harry Potter.
Everything else about Knights of the Zodiac is fine. Sean Bean does what he does best. Along with Famke Janssen, these veteran actors lend a great deal of gravitas to the cast. I’ve never heard of Mackenyu, but he’s a star in the making. If you judge this film on the level of YA films, it’s a good cast.
The action is also fine. Yes, it’s CG-heavy, but the choreography makes excellent use of wirework and high-speed camera tricks. Again, it is fine, but nothing groundbreaking, which inevitably translates to boring. It’s not enough to bring the pages of a manga to life. You’ve got to find the heart of the story that attracted its fans in the first place. This is where screenwriters Josh Campbell, Matt Stuecken, and Kiel Murray fail.
In the end, with the multitude of films, movies, and content, fine is not good enough for a multi-million-dollar studio production. Knights of the Zodiac is a good production in terms of its action and cast. But when one focuses so much on the fantasy-action set-pieces, having a soulless story makes all efforts fall flat.
A recent string of buy-and-sell frauds in Cambridge, Ont., has prompted Waterloo regional police to issue a warning to area residents to exercise caution when completing these types of deals.
Police say officers from South Division are investigating a number of fraud cases that have occurred over the past five months.
In one of the cases, police say they were contacted by the victim of a fraud that occurred near Burnett Avenue on May 6.
The victim was looking to buy a smartphone from a buy-and-sell website but when they met with the seller and paid for the phone, they were handed an empty package and the suspect would not give them their money back.
Police say they are expecting to lay charges in connection with the case and are using it to highlight the issues people have faced.
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They offered a number of tips to help avoid becoming a victim in one of these cases, including the use of the Buy and Sell Exchange Zones at three police stations across the region.
“These zones, which are located in the parking lot of WRPS facilities, aim to provide some additional peace of mind to those who are buying, selling, or trading property online,” a release from police read. “Members of the public are encouraged to utilize these Exchange Zones when meeting people to finalize online transactions.”
Police also note that if residents are unable to use one of their free locations to make an exchange, they should choose a well-lit, public and popular location for safety reasons.
CNN unveiled three new non-fiction series at the Warner Bros. Discoveryupfront, giving a glimpse of its plans after the unit was greatly scaled back last year.
The projects include Columbia: The Final Flight (working title), which tells the story of the Columbia Space Shuttle disaster. The series is a co-production of CNN Original Series, BBC and Mindhouse Productions, and it being distributed globally by BBC Studios.
TinderBox: Great Moments in Pop Culture (working title) highlights the TV moments that became cultural phenomenons, including Ellen DeGeneres’ coming out on her sitcom, and the first interracial kiss on Star Trek.
Spy Wars (working title) is another co-production with the BBC, telling the story of real life spies in the climax of the Cold War between the West and the East in the early 1980.
Last year, CNN announced that it was ending commissioned projects with outside partners in its Original Series and Original Films units, as Warner Bros. Discovery went through an aggressive round of cost cutting. Instead, the network looked to produce projects in house. The units were responsible for projects such as Stanley Tucci: Searching for Italy and Navalny, which won the feature documentary Academy Award this year. The network canceled the Tucci series in December.
“Clearly someone in a position of power cannot be involved in a sexual relationship with someone whose fate depends on said person,” Couric said, speaking on Kelly Ripa’s podcast with SiriusXM, “Let’s Talk Off Camera.” “And so that’s why I was just so shocked that Jeff Shell would do this. And what is it? Is it kind of the power dynamic? Are they so surrounded with yes people, they think the rules don’t apply to them?”
The lauded journalist and former anchor of NBC’s morning news program, “Today,” added, “It just amazes me that a powerful executive like that would be so dumb, just be so stupid and reckless. I think reckless is the word. You can see how it happens, but I think you have to be smart and disciplined and know that unless you tell your supervisor, and unless you’re not a direct report, that having a relationship with a colleague isn’t cool.”
Couric also offered some empathy for the situation, as she feels a career in media at that level can cloud one’s judgement.
“It is hard. It’s very heady being in an industry and being a quote-unquote ‘celebrity,’ whatever that means,” she said. “It does do weird things to your head and you have got to kind of remind yourself that, you know, you put your pants on the same way as everyone else.”
Her comments came three weeks after Shell’s ouster from the company, which was onset by an investigation by an outside firm over a sexual misconduct complaint in the workplace. It was revealed soon after that investigation was made public that Shell’s firing was due to an “inappropriate relationship” with a female employee, according to a statement from parent company Comcast.
“Today is my last day as CEO of NBCUniversal,” Shell wrote at the time in a memo to staff. “I had an inappropriate relationship with a woman in the company, which I deeply regret. I’m truly sorry I let my Comcast and NBCUniversal colleagues down, they are the most talented people in the business and the opportunity to work with them the last 19 years has been a privilege.”
Couric said that the consequences of Shell’s actions came at a time when the definition of a consensual relationship is changing.
“Even if they’re two willing participants, if there’s a power imbalance, who’s to say it’s truly consensual?” she posed. “Who’s to say there isn’t some kind of pressure?”
EXCLUSIVE: Here’s your first look at The Goldman Case, the political drama from French actor and director Cédric Kahn, which opens Cannes’s Quinzaine section this evening.
Billed as a “psycho-pathological portrait of a militant revolutionary,” the pic tells the story of the court trial of Pierre Goldman, a Jewish far-left activist who was sentenced to life imprisonment for four armed robberies, one of which resulted in the death of two women. During the trial, Goldman pleads not guilty to the murder charges. The massively-covered court proceedings transform Goldman into a romantic figure and a hero of the intellectual left, even as the relationship with his young attorney Georges Kiejman frays. Ever the agitator for his ideals, the elusive and mercurial Goldman throws his own trial into chaos, risking a death sentence.
Kahn co-wrote the screenplay with Nathalie Hertzberg. The film was produced by Benjamin Elalouf, with Nathalie Dennes as associate producer. Cast features Arieh Worthalter, Jeremy Lewin, and Arthur Harari. Other credits include casting by Antoine Carrard, cinematography by Patrick Ghiringhelli, editing by Yann Dedet, and costumes by Alice Cambournac.
“The script was based, first and foremost, on documentary research,” Kahn said introducing the pic. “Nathalie Hertzberg and I interviewed Georges Kiejman and André Chouraqui at length; we reconstructed the day-to-day proceedings of the trial from newspaper articles. We made sure to create the most effective narrative possible, reinforcing its content by merging elements from the two Pierre Goldman trials.”
Every once in a while, I’ll be telling you about a random song I am currently obsessed with in an attempt to explore the root of this fascination (and perhaps convince you to join me). Today, it’s a little-known gem from KC and the Sunshine Band.
Yes, KC and the Sunshine Band. Hear me out.
The year is 1982. Seven years after “(That’s the Way) I Like It.” Three years after the notorious Disco Demolition Night. A year after the arrival of MTV.
The hit-making formula that had worked so well for KC and the Sunshine Band throughout the commercial height of disco — from 1975 to 1976, they had four No. 1 songs on the Billboard Hot 100! — was not going to cut it anymore. It was the ’80s now. The future. The moment had come to trash the bell-bottoms, buy a bunch of criminally expensive synthesizers, and set a low-budget and audaciously low-concept music video in an abandoned arcade. It was time for “(You Said) You’d Gimme Some More,” the irresistible and barely remembered leadoff track from the Florida band’s 1982 album, “All in a Night’s Work.”
I was previously unaware that KC and the Sunshine Band ever sounded like this. There’s a dark intensity to “Gimme Some More” — a warped synthesized bass backbone and a hard-driving, mechanized beat that undercuts those signature blasts of celebratory brass. The first time I heard this track, I could have easily been convinced that it was produced not by the group’s founders, Harry Wayne Casey and Richard Finch, but Giorgio Moroder.
I must here confess that the first time I heard this song was not that long ago. And that the reason it came into my life is, shall we say, accidentally Anglophobic: Remember right after Queen Elizabeth died last year, when a bunch of Irish soccer hooligans went viral for singing some regally disrespectful lyrics to the tune of KC and the Sunshine Band’s “Give It Up”? Well, that reminded my boyfriend that “Give It Up” is actually a pretty great song, and when he went to stream “All in a Night’s Work,” he stumbled upon this stone-cold jam.
You know those songs that become localized smash hits within your friend circle or group chat? “Gimme Some More” quickly became one of those. It’s now the song I put on when I have control of the aux cord, usually challenging unsuspecting people to guess — just try and guess — who recorded it. A few months ago I made a friend play it in his car and then also forced him to watch the entire seven-and-a-half-minute music video. His verdict: “Something about this guy’s energy is frightening to me.”
The Moroder comparison isn’t so far-fetched. The producer behind both Donna Summer’s “Love to Love You Baby” (1975) and Blondie’s “Call Me” (1980) made the transition from disco to new wave about as gracefully as a musician could: His was an aesthetic path worth following. But it’s easy to understand why the ecstatic, upbeat “Give It Up” was an easier sell coming from the “Boogie Shoes” guy than the more aggressive and nervy “Gimme Some More.”
I will not vouch for every song on “All in a Night’s Work”; the next track is titled “Party With Your Body” and contains the lyric, “Now Jazzercise is the latest trend.” So to make this journey down the rabbit hole of ’80s KC and the Sunshine Band a little gentler on you, I’ve made a short playlist that throws in a few contemporary Moroder tracks — ones that also bridge those gaps between disco, funk and new wave. I have not secured an abandoned arcade for you to dance in. That work I will leave up to you.
“Gimme Some More (and More)” track list Track 1: KC and the Sunshine Band, “(You Said) You’d Gimme Some More” Track 2: Giorgio Moroder, “Chase” Track 3: Donna Summer, “Pandora’s Box” Track 4: Giorgio Moroder, “Palm Springs Drive (American Gigolo Soundtrack Version)” Track 5: KC and the Sunshine Band, “Give It Up”
Bonus tracks
This week I am mourning the loss, in a brutal Game 7 of the N.B.A.’s Eastern Conference semifinals, of my beloved but singularly star-crossed Philadelphia 76ers. To them, through tears, I dedicate Boyz II Men’s “End of the Road.”
And to sweet, 31-year-old Bobi, the world’s oldest dog: Oasis’s “Live Forever.” It is beautiful to me that a dog who was born before the release of “Definitely Maybe” is still alive.
SANTA MONICA, Calif. — Sisters from another mister. Cinematic alter egos. However you define it, Julia Louis-Dreyfus and Nicole Holofcener have a connection that rivals the great movie partnerships of our time. New York transplants who are similar in height and in age, Louis-Dreyfus, 62, and Holofcener, 63, each have two grown sons, a healthy self-deprecating attitude and the ability to riff on any topic: cake (it’s their favorite dessert), Hollywood gossip (yes, Robert De Niro did just have a baby) and the indignities of aging.
Holofcener arrives at the restaurant at Shutters on the Beach first, takes glass cleaner out of her purse and cleans her brown-rimmed spectacles. Five minutes later, Louis-Dreyfus grabs a chair, pulls out the same glasses in green and her own bottle of glass cleaner, and wipes them clean. (Am I the only one who doesn’t carry glass cleaner in her purse?)
On the set of their new film “You Hurt My Feelings,” they were like two halves of the same person. Louis-Dreyfus was styled similarly to how Holofcener usually dresses: loosefitting pants, button-down blouses. With Covid protocols firmly in place at the time — those not in a scene were masked up — they were often mistaken for each other.
“You definitely feel like they are separated at birth,” said the producer Anthony Bregman. “They are both mothers before filmmakers. They have the same sense of humor, the same honesty, the same potty mouth. But I think what’s at the core is that they have the same disbelief, or wonder, at the narcissism of social interaction.”
Take Louis-Dreyfus’s new podcast, “Wiser Than Me,” which has ranked high on the charts since it debuted in April. In it Louis-Dreyfus interviews women who are older, and therefore wiser, than her.
“Maybe you’ll still be doing it when I’m old enough to be interviewed,” Holofcener told her.
“I won’t,” Louis-Dreyfus replied.
“And you’ll be like, she’s not that wise,” Holofcener said.
“I’ll do this for eight more years and the last episode will be me talking about me,” Louis-Dreyfus said, laughing at the thought.
The two first met a decade ago, when they partnered on “Enough Said,” the 2013 romantic comedy about a divorced woman grappling with sending her daughter off to college while contemplating a new love. They later collaborated on an Amy Schumer sketch that went viral but weren’t able to make another film together, until now. “You Hurt My Feelings” follows Beth (Louis-Dreyfus), a somewhat successful and happily married writer who overhears her husband, Don (Tobias Menzies), criticizing her new novel. The fallout proves devastating.
The premise is yet another example of Holofcener’s ability to mine the mundanity of life for the absurd. Below are edited excerpts from our conversation.
Was there an inciting incident that prompted this film?
NICOLE HOLOFCENER It started brewing as soon as I started screening my movies or having people read my scripts, wondering if they’re telling me the truth or not. And believing that I can tell. What a nightmare this situation would be, if somebody that close to me revealed to someone else that they didn’t like my work, or even just one of my movies. They have to love everything, in other words, for me to feel safe.
JULIA LOUIS-DREYFUS She’s very sensitive.
HOLOFCENER I just came up with a what-if. What would be the worst scenario of somebody telling me they love something and me not believing them? I do have friends that I don’t believe. And there’s one person in particular that I don’t believe. I’m actually OK with it. Because I know they love me and get me and clearly they’re wrong. I mean, it hurts a little. They didn’t admit it.
Since Nicole wrote this script with you in mind, did you connect to it immediately?
LOUIS-DREYFUS Yes. I think it’s interesting to consider the notion of worth and self-worth. Am I my work? And who am I without my work? That’s certainly something I like to think about. And that this is ostensibly a great relationship between a married couple, and then the wheels just totally fall off the bus. That was kind of terrifying to consider.
I told Frank Rich [the former New York Times columnist who was an executive producer of her series “Veep”] the premise of this before we shot it. He audibly gasped.
HOLOFCENER Oh good. That’s my audience. Not the people who would hear the premise and go, ‘Yeah, so what? Like, what planet are you from?’
Since you wrote this with Julia in mind, did that change your approach?
HOLOFCENER [To Louis-Dreyfus] Just don’t listen, because it’s going to sound stupid.
[Louis-Dreyfus throws her cappuccino-stained napkin over her head to avoid eye contact.]
HOLOFCENER When you have Julia in your head, it’s bliss, because it just makes me funnier, knowing that she’ll do it. She just sparks my imagination.
Is there a scene that you wouldn’t have written if Julia wasn’t your lead actress?
LOUIS-DREYFUS Oh God.
HOLOFCENER Certainly, I can see other actors doing the scenes differently, and I’m so glad they’re not in it and she is.
What scene specifically?
HOLOFCENER The scene where she’s sitting on the couch with her sister, she’s smoking pot. This is after she’s heard the bad news; she’s crying. It’s tragic. And you really feel for her, but you’re laughing because of that face.
LOUIS-DREYFUS Oh gee, thanks.
HOLOFCENER Julia walks a very fine line between comedy and drama. And that’s what I like to do with my writing. I didn’t have to do much, or anything, for her to get what I mean. We know this movie is about something fairly minor in the world of things.
LOUIS-DREYFUS But also very major.
HOLOFCENER But in the big picture, we’re not going to be crying for her. We hope she’ll get over it. But I think that scene works because she seems like she’s about 16. I think all of us are sometimes still 16. Especially when it comes to getting approval or not getting approval. I still think of myself that way. So that’s funny to see a grown-up person behave like they’re 16, in an honest way. Not in a movie way. Or a histrionic or a silly way.
How difficult was it to shoot the scene in the street right after she’s overheard her husband trash her novel?
LOUIS-DREYFUS That was very nerve-racking because we had paparazzi issues that day.
HOLOFCENER It was our first day.
LOUIS-DREYFUS Which sucked, by the way. We didn’t own the street. It was just brutal trying to shepherd people and get them out of the shot or into the shot or whatever. And then we have paparazzi across the street, as I’m trying to legitimately look as if I’m going to vomit. You know, that’s not a good look.
HOLOFCENER And they want to take your picture.
LOUIS-DREYFUS I’m trying to stay in the scene. But that look of when you’re actually heaving. I defy the most beautiful woman in the world, Isabella Rossellini is not going to look good, doing that.
HOLOFCENER She did it so well that someone walked by and asked her if she was all right.
We don’t often see a longtime happily married couple depicted onscreen.
LOUIS-DREYFUS Normally, if you see a couple married a long time, you’re going to see them butting heads.
HOLOFCENER Or having an affair
LOUIS-DREYFUS Or somebody gets a heart attack. In this case, it’s much more fresh and interesting.
HOLOFCENER I think there are hardly any movies about people our age. And they generally tend to be, in my humble opinion, too silly or too broad.
LOUIS-DREYFUS And not real.
The majority of the characters in this film are experiencing doubt over their careers and if they can or should pivot to doing something else. Clearly, that topic was on your mind, Nicole.
HOLOFCENER I feel that way. Sometimes. I wonder how much time I have left, and do I want to be doing the same thing. Is it too late and what would I do? I think a lot of my friends feel the same way. Or they’re retiring early and making pottery and are very happy. I can imagine retiring.
LOUIS-DREYFUS You can?
HOLOFCENER Yeah, just like, leave me alone already. I have no more ideas.
Do you really feel that you’re out of ideas?
HOLOFCENER Well, at the moment I’m out of ideas.
Do you usually feel this way right after you’ve finished making a film?
HOLOFCENER I’m usually out of ideas every day. That’s why I make so few movies. So it’s really true. I don’t know if I’ll make another movie. I hope that’s not the case. I did think that before this movie, so, you know, I’m assuming I’ll keep going for a while.
LOUIS-DREYFUS You will.
HOLOFCENER And my characters will grow old with me.
LOUIS-DREYFUS I wasn’t thinking about this character as an age thing. Maybe that was wrong of me.
HOLOFCENER She’s afraid she has an old voice. We’re all afraid of that.
LOUIS-DREYFUS To tell you the truth, I feel like this age, there’s just so much more to do. There’s a huge freedom. It’s like who cares. Try it all. Risk it all. The benefit of being this age is that you have so much experience under your belt, if you’re lucky. Which you do. And I do. And you can apply it. I want to make another movie with this one. You’ve got to get an idea in your head.
Marvel Comics has officially announced the death of Ms. Marvel in the next issue of The Amazing Spider-Man!
In the latest run of The Amazing Spider-Man, written by Zeb Wells and drawn by John Romita Jr., Kamala Khan has been a minor supporting character working as an intern at Oscorp keeping an eye on the formally-evil CEO. In the lead-up to issue #26, Marvel Comics promised that one character would die and that it would be “the most shocking issue of Amazing Spider-Man in 50 years.”
However, the ending of the next issue of The Amazing Spider-Man, intended to release on shelves on May 31, was leaked online and spoiled the big, supposedly shocking, death.
Another Marvel Hero Dies (For Now)
Marvel
Due to online leaks, Marvel Comics, via Entertainment Weekly, has officially announced that Kamala Khan, aka Ms. Marvel, will die at the end of issue #26 of The Amazing Spider-Man, releasing later thisMay.
Marvel
Her death will be given greater focus in the aptly named Fallen Friend: The Death of Ms. Marvel written by G. Willow Wilson, Saladin Ahmed, and Mark Waid, where more Marvel heroes will mourn her death.
Why Is Ms. Marvel Getting Killed Off?
No, Kamala Khan isn’t staying dead in the comics, especially not with The Marvels right around the corner. Instead, something even worse is likely going to happen, which is Marvel Comics changing the teenage hero into a mutant to match her cinematic counterpart.
In the comics, she was introduced as an Inhuman alongside other new Inhuman characters, such as Lunella Lafayette, aka Moon Girl.
For those who don’t read the comics, the mutants are currently immortal. They can be revived with all their memories and powers on Krakoa whenever one of them bites it.
As many have already speculated, Kamala Khan will likely be revived in the same manner and either be turned into a mutant or be revealed to have been a mutant all along. Hell, her powers might even be changed to match the TV show, too.
This is all so that Marvel Comics can desperately try and attract new readers from general audiences of the MCU, hence the likely change in lineage and possibly powers as well.
As for the comic itself, it’s laughable that EW says that Kamala has been “an important part” of the current run of The Amazing Spider-Man. She maybe appears in five of the 25 issues thus far with very little significance to the plot.
Review: Batgirls #18 [Editor’s Note: This review may contain spoilers]
Writers: Becky Cloonan and Michael W. Conrad Art: Robbi Rodriguez Colors: Rico Renzi Letters: Becca Carey
Reviewed by: Matthew B. Lloyd
Summary
After last issue’s events of the Aparo Park Shooter, the Batgirls are compelled to step away…? It’s a surprising choice, but what’s really going on?
Positives
It’s great to see the Batgirls trying to solve a mystery. and a pretty difficult one at that. Plus, we get to see how the Bat-family relies on one another. It’s small details that elevate books, and it’s Batman’s approval of the Batgirls that reveals the underlying truth of the relationships in the Bat-family. It’s a short quick scene, but it has the element of reality and connects the reader with one’s own feeling of inadequacies or lack of confidence. It brings out the human quality in the characters that last long beyond the “villain of the month.” Robbi Rodriguez has some striking images, especially Barbara Gordon in the first few pages.
The plot in Batgirls #18 is quite strong, as well. It’s not just the mystery aspect, but the interesting way the plot serpentines around. The concept sets the Batgirls against the Gotham PD and as a reader you just aren’t sure what the right approach is. What’s particularly wonderful is the end of the issue when the citizens of The Hill rally around the Batgirls. There’s certainly a lot of potential in exploring a population and its resident costumed guardians. It’s not clear how far this will be developed in upcoming issues, but Batgirls #18 is an infusion of emotions that ignites the concept. A major player in this aspect of the story is Grace O’Halloran who’s quietly gone through quite an emotional and personal journey throughout the life of this series. Has she found her true purpose finally?
Negatives
There’s no obvious negative to this issue, but knowing that the last issue of this series is coming soon, it does cast a tinge of sadness over the events. Sure, these characters aren’t going to die or be decommissioned, but it’s unlikely that whatever comes next will treat them in the same way that focuses on their friendship and camaraderie.
Verdict
Batgirls #18 is an interesting issue with a fun plot that provides an interesting idea for the relationship between the citizens of the Hill and the Batgirls. There’s really strong images as well and the issue leans into its strengths of relationship and characterization even down to the small details.
“The Shenzhen-based (China) indie games developer BINGOBELL today announced with great excitement and joy that their charming semi-open-world action-adventure/RPG “KAKU: Ancient Seal”, is now available for PC via Steam Early Access..” – Jonas Ek, TGG.
From award-winning shorts to a Sundance darling, this is what filmmakers need to know when making a groundbreaking feature film.
Laurel Parmet is a director and writer who has been nominated and awarded for her shorts, Kira Burning and Spring. Kara Durrett is a producer who works in both independent film and television, producing films such as Save Yourselves! and Topside. We were honored to speak to both of them about their recent film, The Starling Girl, which made its world premiere at the 2023 Sundance Film Festival.
In this episode, No Film School’s GG Hawkins, director Laurel Parmet, and producer Kara Durrett discuss:
The surreal, emotional feeling of premiering at Sundance
What the film, The Starling Girl, is about
Why Laurel believes going to film school was invaluable for her
Getting fully financed and then losing it all when the pandemic started
Pitching a film – how to do it and why it’s so amazing
What the remote editing experience was like
Plotting out each scene to encourage certain audience emotions
Feeling fortunate from the positive response after premiering at Sundance
The process of bringing a film to the screen
How to maintain stamina on projects that take years to make
What you need to do before deciding to become a producer
Listen to more episodes of the No Film School podcast right here:
This episode of The No Film School Podcast was produced by GG Hawkins.
The first teaser trailer for the Five Nights at Freddy’s movie has been released, offering a quick look at the adaptation.
Move over Super Mario Bros, as Universal just released the first teaser trailer for their next highly anticipated video game adaptation, Five Nights at Freddy’s. A film version of the video game franchise has been in the works for years, and sure enough, Blumhouse and Universal are readying what they no doubt hope will be the next successful franchise for the horror-based studio. The retro trailer, which features Josh Hutcherson’s Mike Schmidt running afoul of the killer animatronic mascots, was short, sweet, and promises a good time.
Here’s the official synopsis from the studio:
The terrifying horror game phenomenon becomes a blood-chilling cinematic event, as Blumhouse— the producer of M3GAN, The Black Phone and The Invisible Man— brings Five Nights at Freddy’s to the big screen.
The film follows a troubled security guard as he begins working at Freddy Fazbear’s Pizza. While spending his first night on the job, he realizes the night shift at Freddy’s won’t be so easy to make it through.
Five Nights at Freddy’s is getting a simultaneous Peacock/ theatrical release on October 27th, just in time for Halloween. In addition to Hutcherson, the film co-stars You’s Elizabeth Mail, Mary Stuart Masterson, and the great Matthew Lillard.
Of course, a quasi Five Nights at Freddy’s movie was made a few years ago called Willy’s Wonderland, but this seems to be the real deal. It’s directed by Emma Tammi, who directed The Wind and episodes of Blumhouse’s Into the Dark, and the creature effects are by the Jim Henson Studio.
The premium end of the streaming video sector in India is poised for shake-up, with Reliance Industries’ JioCinema challenging the SVOD dominance of Disney+ Hotstar, new research suggests.
“The India Online Video Report: Analysis of Consumption, Content & Investment Trends,” from Singapore-based Media Partners Asia, shows total consumption across the online video sector reached 6.1 trillion minutes for the 15-month period from Jan 2022 to Mar 2023.
Within that period, the SVOD, AVOD and freemium platforms accounted for some 12% of viewing time, up from 10% in 2021. Social services such as YouTube and TikTok accounted for 88% of viewing time.
That positions India behind Australia, the most developed market in Asia where premium services enjoyed 35% of viewing time, but close to Japan and Korea (15% of viewing time) and ahead of emerging markets in Indonesia, Thailand and Philippines, where the norm for premium VOD share is below 10%.
Disney+ Hotstar dominated premium VOD over the 15-month period to end of March 2023, with 38% of the sector viewing time. “Its success was driven by sports as well as the depth of its Hindi and regional entertainment,” the report said.
The big shake-up that Media Partners identifies comes from the significant upgrading of the JioCinema service from April, which during the report’s 15-month span, only accounted for a 2% share of the premium video market in India.
“In April 2023, in spite of several tech glitches impacting user experience, the free live streaming of the men’s IPL cricket ensured that Jio Cinema consumption grew more than 20x in April 2023 to ensure that it dominated the premium VOD category. It remains to be seen whether its platform can maintain its growth and scale in the absence of IPL action after June 2023,” the report said.
In the 2022-23 reporting period Media Partners Asia says that Zee and Sony together have 13% of the Indian premium video sector viewing time. The two companies are expected to merge, though regulatory approval is dragging on, and the research firm says that they “are expected to operate separately for another year, benefiting from strong engagement across sports as well as regional, local and international content.”
During the measured period, Prime Video and Netflix had an aggregate 10% share of premium VOD category viewership. “Prime Video continues to benefit from a good mix of content across genres and languages with crime & thriller and action & adventure leading the way. Prime Video also garnered almost a third of its viewership from regional Indian titles. In aggregate, more than 60% of Prime Video’s viewership was anchored to local content,” the report said.
“Local content’s contribution to viewership at Netflix was 24%. Netflix’s Indian originals have not been able to sustain their buzz for a long period of time. In contrast, various seasons of Netflix’s major US titles have achieved sustained viewership,” the report said.
Local content dominates premium VOD viewership outside of the sports category, but paid tiers are led by international content, the report says.
Catch-up TV content dominates the free-tier across freemium streaming platforms. Indian content dominates premium VOD viewership, excluding-sports. International content contributed 51% of total paid tier premium VOD consumption over 2022-23.
U.S. content remains the primary driver with 36% share while Korean content is growing and reached 6% share during the measured period. Local content contributed 49% overall to the paid tier with Indian originals contributing 26%.
Warner Bros., Netflix Studios and Disney’s Marvel Entertainment are the leading studios in terms of share of U.S. content viewership. Applause, Endemol, The Viral Fever, D2R Films and Excel Entertainment were the key drivers of Indian original series viewership.
“Fantastic Beasts and Where To Find Them” was produced by Heyday Films and Warner Bros. Pictures with a budget of $180m. With it’s initial release on November 16th 2016 it made approximately $809.34m at the Box Office.
Watch the trailer for “Fantastic Beasts and Where To Find Them”
Non-writing staff members on NBC’s “The Tonight Show Starring Jimmy Fallon” will not be paid after this Friday and are being put on an “unpaid leave of absence” as the WGA writers’ strike nears its fourth week, one of the show’s staffers said Tuesday.
“This Friday is our last day of pay,” tweeted Sarah Kobos, the “Tonight Show’s” research coordinator, in a thread containing her previous updates on the staff’s payment status amid the strike. “We (non-union staff who aren’t writers) will be put on an ‘unpaid leave of absence’ during the strike.”
“Meanwhile I hear folks at ‘Late Night With Seth Meyers’ and ‘The Late Show With Stephen Colbert’ will continue to be paid,” she continued. “Solidarity with WGA!”
This friday is our last day of pay. We (non-union staff who aren’t writers) will be put on an “unpaid leave of absence” during the strike.
Meanwhile I hear folks at Late Night with Seth Meyers and The Late Show With Stephen Colbert will continue to be paid.
An unnamed source reportedly confirmed the show’s decision to the Huffington Post Tuesday.
NBC didn’t immediately respond to TheWrap’s request for comment.
The decision to halt payment for the show’s staff is essentially how NBC and Fallon signaled things might go back at the beginning of the strike. Following a public pressure campaign led in part by Kobos, NBC agreed to pay the staff for two weeks, and Fallon said he himself would pay for a third week.
“I have a very good update! We ended up having our production meeting this [morning] too and @jimmyfallon was there,” Kobos tweeted on May 3. “He got NBC to give us a second week of pay, and he will be paying us himself for a third week. We also are going to have healthcare extended through [September].”
Fallon spoke out in support of the WGA strike at the Met Gala just before the strike began.
“I wouldn’t have a show if it wasn’t for my writers, and I support them all the way,” Fallon said on the red carpet.
Kobos would go on to call out her boss on Twitter for not following through on his word, saying Fallon didn’t attend a meeting in which the staffers were told they wouldn’t be paid during the strike. She later told her followers Fallon did show up to another meeting, and that he would pay their salaries out-of-pocket for an additional week.
Several other late-night shows that have been put on hiatus due to the strike — including NBC’s “Late Night With Seth Meyers” — are reportedly continuing to pay their staff, unnamed sources told the Huffington Post.
For all of TheWrap’s WGA Strike coverage, click here.